All 8 entries tagged Glossaries

No other Warwick Blogs use the tag Glossaries on entries | View entries tagged Glossaries at Technorati | There are no images tagged Glossaries on this blog

March 19, 2008

Glossary of Magazine Terms

Glossary of Magazine Terms


Return to Lifestyle Magazines Hub


Ad-get Features: These are closely linked to advertorials. This involves a special theme being proposed in order to sell advertising space in the magazine. This is a slightly murky field. For example the Times Higher Educational supplement might tell publishers when it is going to carry features and revews on a particular subject area such as ‘Media’ for example. Obviously this is likely to attract more buyers than usual from University media departments. But the publishers of Media textbooks will have no say in exactly what is written in the features or the reviews. With ‘lifestyle’ magazines this relationship breaks down rapidly and there is likely to be close collaboration between advertisers and the magazine.

Advertorials: sometimes known as ‘special features’ these are pages for which the advertiser pays but the pages are designed and written in the style of the magazine’s editorial. They are either done by the magazine’s own staff or else they are freelance writers working to the magazines style sheets. They help to ‘deliver the reader to the advertisers’ by deliberately blurring the difference between the editorial content and the adverts. In many ways they can be seen as an attempt to fool readers into thinking that the content is in some way ‘objective’. Certainly the net effect is - except to the exceptionally alert reader - to provide an underpinning of the product concerned. Researching 1966 for IPC (a magazine company) showed that readers assume that the editor has in some way been involved in the selection of the product shown in the advertisement feature. The closer the match between the advertisement feature and the editorial style of the magazine the more readers are likely to believe that the editor is endorsing the product. The brand values of the magazine will feed into the product being featured. The December 2004 GQ ‘GQ Promotion’ of a Volvo 4 wheel drive estate which lends an air of excitement to the product is effectively part of a campaign to reposition in the car market as something more ‘lifestyle’ linked to adrenalin rather than as in Britain an image of staidness and safety features. Clearly primarily aimed at younger men. These features are meant to carry a truth ‘warning’ indicating that it is some kind of advertisement.

AIDA. Advertisers have worked for many years trying develop models of consumer behaviour. Many work to a behavioural model called AIDA = Awareness, Interest, Desire, Action. In this model the purpose of advertising is to raise awareness, then stimulate interest which leads to the creation of desire and subsequently action. Action wouldn’t necessarily take place for some time especially in the case of something big like car adverts for example. This meant that advertisers had to multiply the number of messages to reinforce their sales force. This model is dependent upon a ‘rational’ consumer acting in a linear way. Also many adverts failed to stimulate action or desire. Now most advertising strategies rely upon 2 main behavioural responses: raising awareness and stimulating interest.

AIR: see Average Issue Readership.

Average Issue Readership

Burst Advertising (also see Drip Advertising). Burst advertising concentrates on a range of vehicles with high frequency. This can be targeted at crucial times of year. For example the expensive Swiss watches advertised before Xmas (Cartier / Breitling) in GQ will also be present in the quality Newspapers (Financial Times, Independent, Telegraph, Times, Sunday Times etc). They will also be in magazines such as The Economist. GQ is the sort of magazine often consumed whilst waiting for business meetings or travelling to them and can be bought more for the adverts than the editorial content.

Circulation: Circulation differs from readership. A magazine will almost certainly have more readers than it has buyers. Each magazine generates figures which suggest the actual multiple involved. In other words whether it is 2 or 10 times the number of readers to buyers. Let us take GQ. It has a circulation of around 100,000 if its index comes out as 10 then it will have 1 million people reading it.

Consumer Magazines: These aim at leisure interest giving readers , advice information and entertainment relating to the reader’s leisure time. Magazines on cars, boats, bycycles, windsurfing, cinema etc. The actual quality of the writing and the target audience will of course vary. What links all these magazines is the fact that they will carry adverts to encourage the reader to consume relevant products in some way. Buying a car or a DVD or going to a film.

Coverage (Advertising). Coverage is the number of the target market reached. Coverage is usually measured in Average Issue Readership (AIR) for print media.

Cover lines : Information about major articles given on the front page of a magazine

Drip Advertising. (also see Burst Advertising). Drip advertising tends to focus on keeping up an awareness of a brand. You might see a a body product being advertised in a drip way after an initial Burst campaign to create awareness. Because perfumes etc are relatively cheap and regularly consumed it is important to keep brand awareness up. Buyers are likely to consume several times a year so it is important to try and maintain brand loyalty.

Frequency (advertising) is the number of times the target market is reached.

Left-side third: A lot of important information designed to attract potential readers is placed in the left-hand side vertical third of the front cover page. This is in case the magazine is displayed in a horizontal shelving system rather than a vertical one.

Lifestyle Magazines: a sub-genre of consumer magazines. Where titles are not clearly about one activity or interest they are likely to be about lifestyle. Most of these are for women and girls but since the 1990s several new ones have been aimed at men such as FHM, Loaded, Front and GQ. These have so far been very successful. A critic Cynthia White as far back as the 1970s asked of women’s magazines how far they supported acquisition as a primary goal of life thereby relegating or downgrading other goals in life. This can now be asked of men’s ‘Lifestyle Magazines’.

Magazines / Technology and Ads: For many years magazines benefited from having full colour reproduction. This kept key advertisers such as food, drinks, fashion and cosmetics. As technologies changed and colour became more available for newspapers so magazines had to develop new arguments. They have to convince Media Buyers that it is ‘common sense’ that women’s monthlies have more loyal readers than say newspaper colour supplements. They convince media buyers by going out and doing ‘qualitative research’.

Market Penetration: This term refers to the % of potential readers who actually buy the publication.

GQ would be looking at all males in the UK between say 18-30.

Masthead: The title of the magazine or newspaper. It is usually placed at the top of the front cover for display purposes

Media Planner (Advertising). Media plans are usually constructed to cover a year-long campaign. They are made with the client to discuss timing (Xmas for perfumes Feb/ Mar for new fashions etc). The planner makes sure that the campaign fits in with the rest of the marketing mix. It is important to ensure that outlets have sufficient stocks. Media planner is given information on who uses the brand, who uses competitors brands, who buys it who influences the purchasing decision. (Parents / Friends / work colleagues / experts etc. This influences the ‘creative’ brief. The media planner then draws a map of media audiences which would achieve the greatest coverage of the advertising target at the lowest price based upon media research. Usually several different plans are drawn up. Contingencies are also built in. If an economic recession takes places then sometimes one area of media will be dropped. This is often newspapers and magazines as for many (not al products TV exposure is more important). Please note for a magazine like GQ for example this might affect car and perfume ads but not high fashion which doesn’t tend to use TV precisely because they are targeting exclusivity and status not mass markets. Media planning has to create a balance in each plan between the number and frequency of the target audience reached set against the budget. Media planners traditionally compare the relative costs of delivering audience on the basis of its cost per thousand members of the target audience. This approach works best where delivering the greatest volume of the target market is important. It is calculated on the basis of the Rate Card price divided by projected numbers, divided by 1000. In 1992 the cost in women’s lifestyle magazines varied between £7.93 for Cosmopolitan to £18.67 for Harpers and Queen. This isn’t the real cost and is also based upon the readership rather than the precise target audience (that would differ considerably between Harpers and Cosmopolitan for example). Harpers is aimed at the A/B income level whilst Cosmopolitan is primarily C1 /B / A .

Advertising planners also build in other factors such as quality of editorial content. All these extra values are when factored in to produce a Valued Impressions per Pound (VIP) rating. Quality f editorial, production etc is multiplied by the audience and divided by the cost. On this basis the Financial Times is ahead of the Sun.

With magazines the editorial will be made to fit the space created by the adverts. Ads pay for more pages to be printed.

Plug: Information about the contents of a magazine or newspaper given on the front cover

Puff: Words or phrases on the cover of a magazine used to boost status

Product / Brand Awareness. ( Analysing the Adverts)

Raising Awareness. Adverts have to compete with other adverts, often with editorial content and with general consumer resistance. Because of the this the ‘creatives’ see the most important job of an advert as grabbing the reader’s attention. Some make assumptions that because interests and social life are so heavily gendered the best way to reach the attention of women is to use animals, royalty, weddings, babies fashion and astrology. For men it’s sports, sex, cars, politics, wars and disasters. In this way advertisers can help to create gendered stereotyping for example. Involving readers or providing shocks are common ways of raising awareness.

       News’ stories become a powerful advertising discourse. Constant product modifications, re-launches and redesigns reflect a need to be constantly be seen to be modern. ‘New improved’ maintains brand loyalty. Features on luxury cars are introduced lower down the market range. By revamping a product it also allows the possibility of creating more editorial comment in reviews / interviews etc.

       Prominence involves using a personality, event or object that the target market collectively recognises and understands. It is part of a shared cultural knowledge. (Madonna in Versace spring 2005 GQ) for example.

       Co-option an advertiser uses a major news or media event or other advertising campaigns for their own advertising. With food for example a government health recommendation of five pieces of fruit and veg per day can be used in diet adverts for example. Pollution can get body product makers inventing new protective creams etc.

       Arousing curiosity. Ask the question ‘Why’. For example ‘Why our moisturiser has red hot chillies in it ‘. In women’s magazines especially the ‘how to...’ Construction. - How to get a boyfriend / Lose weight while eating even more ice cream / how to find out if he’s cheating on you.

       Showmanship. When you have nothing to say use showmanship. Is there anything new to say about shampoos for example? The brand therefore needs high production values to give a sense of something ‘added value’ elevating the product.

       Sustaining Interest. The existence of editorial content is paradoxical because although mass media provide coverage it is difficult to grab interest and attention for products. Advertisers believe hat the consumers are often in the wrong frame of mind to receive advertising messages. ‘Creatives’ therefore try and make ads stand out by having better production values than the editorial. Sometimes humour and other devices can be used to break down consumer resistance.

       Getting around the media-wise consumer. The use of parody is becoming common to try and get around the sceptical consumer. The point is often not to be appearing to sell at all. The point being to allow the consume space to make up their own mind rather than feel that they are being manipulated. This leads to try it out , make up your own mind, we think you’ll agree with us ,if you do be careful! you might be seriously tempted.... type of advert.

       Distraction. This is used to break down the resistance of the consumer. Look for strong visuals and graphics in the magazines. Haagen Daas co-opted greater discussion in the media about ‘adventurous sex’ as a way to keep your partner suddenly linking ice-cream to sex. Erotic imagery distracted the consumer as well as being suggestive.

       Creating Consumer Pride. Much advertising is meant to assure existing users that they have made a wise choice encouraging to return to that brand which is still the best.

       Fear, Guilt and Insecurity. Problems with spots, keeping boyfriend / girlfriend, career failure, not fitting in, loss of status and esteem, loss of face, loss of wealth. Creatives create the fear and then answer these with ads such as tension - relax with our ...., distrust of business - caring capitalism / corporate charity.

       Fantasy and escapism. The Bounty Bar on a tropical island is to associate myths, metaphors and associations with a Brand.

       Consistency, familiarity and authority. People like to do business with people they know so advertisers try to establish their brands as trustworthy and familiar. How do advertisers make their claims credible? One way is by sheer dominance of the market-place. Getting a famous / neutral person to endorse the product. Science especially with body products for example. Words such as ‘Hydra Renewal’ (there is water content in the product)give an air of a laboratory. Use of ‘Experts’.

       Memory and action. Much of the advertising in lifestyle magazines such as GQ uses an indirect form of selling associated with an emotional experience or a value ‘ Pernod :Free the Spirit’ for example. ‘Carlsberg. The best lager in the world, probably’. There is a positive emotional response. When it comes to buying this is likely to differentiate the brand from say 5 other different lagers at the bar. Nike’s ‘ Just do it ‘ ads.

‘Surrogate’ Advertising. Traditional media such as radio, TV newspapers generally consume these media for the editorial content. For this reason the media audience for these surrogate media will always be distinct from the brand’s target audience. This will give an advantage to the specialist magazine.

Time of Consumption. Monthly magazines consumed over a month give a more protracted exposure than a daily paper.



January 04, 2008

Kinoeye Reference Hub

Kinoeye Reference Hub Page

Introduction


As the Kinoeye film and media blog develops a range of reference pages are being made available. You may wish to bookmark this page to be able to quickly refer to what is currently available at any time.  


Reference pages will include: bibliographies glossaries, chronologies, convenient list of directors, actors etc.  



Reference Pages 

Bibliographies

British Cinema Bibliography

French Cinema Bibliography 

Italian Cinema Bibliography and Webliography

Repetition or Revelation: Film Genre and Society. 2003 (Bibliography)

Weimar and Nazi  Cinema Bibliography


Chronologies 

A Chronology of Important European Films  1918 - 2003


Directors

Directors in Contemporary British Cinema

Directors in Italian Cinema

Weimar Directors Hub Page  


National Cinema Hub Pages

British Cinema


European Film Institutions


Glossaries

Glossary of Documentary Film Terms

European Cinema and Media Glossary A-E

European Cinema and Media Glossary  Ed-Mo

Media and Film Studies Glossary N-Z

Glossary of New Media Technologies (A-N)

Glossary of New Media Technologies (O-Z)


In depth individual explanations of terms 


Globalisation  




Glossary of Documentary Film Terms

Glossary of Documentary Film Terms

From the Kinoeye Reference Section


Aleatory techniques. Aleatory technique is when the element of chance is incorporated into the film making process. Action and sound may not have been planned or scripted. The British film maker Humphrey Jennings was renowned for this.  Even in fiction films this technique has been used. Jean-Luc Godard used improvisational interview techniques with his actors which questioned the distinction between acting and being and also the division between documentary and fiction.

Cinema Verite. A type of observational film which uses available light, fast film stock, handheld lightweight cameras, portable sound recording and a minimum of other equipment to record profilmic events. Aleatory techniques are very important to this style. The style became widely known after being introduced by the anthropologist / filmmaker Jean Rouch and sociologist Jean Morin in Chronicle of a Summer (1961). Rouch saw the camera as a participant in the unfolding of events which makes cinema verite quite different in approach to Direct Cinema. Rouch believed that the camera functioned as a psychological stimulant which although it altered behaviour in front of the camera arguably revealed deeper underlying truths about personalities. Dziga Vertov’s Man with a Movie Camera (1929) can be understood as a precursor of this approach. The camera did boast of its own presence and influence upon the profilmic events. The Sorrow and the Pity (1970) by Marcel Ophuls can be seen as another example.

cover_of_man_with_a_movie_camera.jpg


City Symphony film. This developed as a sub-genre of documentary film. They are often abstract films loosely structured around the theme of the day in the life of a city. The use of montage provides a sense of rhythm and movement. Rien que les heures (1926) Alberto Cavalcanti was shot on the streets of Paris. It was the first of the ‘City Symphony’ films made in Europe during the 1920s and preceded the better know Berlin: Symphony of a Great City (1927) by Ruttman. It was very influential amongst the documentary movement at the time. Man With a Movie Camera: Dziga Vertov (1929) is far more than just an impressionistic view of the city. The film is an optimistic perspective on the importance of industrialisation and modernisation. Vertov also brings in a strong element of reflexivity in which the film is shown as being made as well as showing the audience and the place of exhibition.

Crown Film Unit. In August 1940 the GPO Film Unit was remaned the Crown film Unit directly under the Ministry of information thus becoming a directly propaganda organisation. Many of the films were made by Humphrey Jennings as well as Watt and Jackson. After the war documentaries were stil made but the energy, belief by government and and social consciousness had dissipated. The Unit was closed in 1951.

Direct Cinema. A type of observational documentary practice which developed in the USA during the 1960s. Profilmic events were recorded as they happened without rehearsal or reconstruction. Unlike cinema verite the practivce sought to be as unobtrusive as possible giving rise to the term ‘Fly on the wall’ coined by the film-maker Richard Leacock. Stylistically they feature long takes and minimal editing and try to keep a chronological structure to preserve profilmic events as effectively as possible. Subjects are allowed to speak for themselves and the camera observes ho0ping to record a privileged moment which will display the truth of the person behind the words.

Documentary. The term was invented by John Grierson when reviewing of Flaherty’s Moanna (1926). Any film practice that has as its subject persons events or situations that exist outside the film in the real world also referred to as non-fiction film. The first films ever shown to the public were documentaries exhibited by the Lumiere Brothers in 1895. They were very popular for some some with travelogues being especially popular. As editing techniques developed fictional narrative films gradually eclipsed documentaries. Documentary then survived inside the institution of cinema as newsreels. Pathe News began these in 1910 and soon other major companies began making them. Nanook of the North: Robert Flaherty (1922) was the first ever full length feature documentary. It demonstrated that fictional techniques could be used in a documentary.

Nanook of the North DVD Cover


Few full length documentaries have ever been made. Woodstock : Michael Wadleigh (1970) was one that managed to be distributed in mainstream cinemas. Documentaries differ from fiction because they refer to the historical real. The documentary theorist Bill Nichols describes the pleasure derived from watching documentary as ‘epistephilia’ or knowing about the real world. Fiction film cannot substitute for the hooror of an on-screen assassination or the explosion of the space shuttle challenger or the planes flying into the world trade centre. There is no need to suspend disbelief. Initially for many the fact that real events were caught on camera meant that documentaries were somehow unbiased. Nowadays it is widely accepted that documentaries are biased, as a result those seeking more objectivity take more concern with how the subjects of the documentary represent themselves. Blandford, Grant and Hillier (2001) argue that documentary isn’t a genre citing Nichols who comments that:

Documentary as a concept or practice occupies no fixed territory. It mobilises no finite inventory of techniques, adresses no completly known taxonomy of forms, styles, or modes’.

Nevertheless on the arguments that Neale uses to describe 'Art Cinema' as a 'genre' by virtue of its exhibitionary and distribution target audience, documentary with all the sub-generic forms has a more powerful case to be described as a genre. Interestingly Bill Nichols himself has included two articles on documentary including one by himself under 'Genre Criticism' in his seminal Movies and Methods Vol 2 (1985).


Empire Marketing Board (Film Unit). Existed to market the British Empire. John grierson headed the film unit between 1928 - 1933 when the whole board was wound up. It produced nearly 100 short films including The Drifters (1929) by Grierson himself and also Industrial Britain 1932) by Robert Flaherty. The Public Relations head Tallents went to the GPO and took Grierson and the film unit with him.


Ethnographic Film. Anthropological documentary that seeks to present and describe other cultures with a minimum of interpretation and ideological distortion. The first feature film usually considered as a foundational ethnographic film was Nanook of the North: Robert Flaherty (1922). However it romanticised the Inuit people. This type of approach to documentary film making can often be seen as condescending by representing indigenous people as ‘exotic others’.

Fast Film Stock. This describes how sensitive the emulsion is to light. Fast film stock is more sensitive to light and is rated at 400 ASA and above. Slower film stock can start as low as 50 ASA. Fast film was very useful in low light conditions and shooting could take place without artificial lighting. The disadvantage of this was that the film would look grainy compared to slower speed films.

Free Cinema Movement. This was a short lived movement in the late 1950s in Britain which tried to develop a different approvoach to documentary cinema. It had a powerful effect upon the British New Wave feature films which emereged soon afterwards. It was founded by Lindsay Anderson, Karel Reisz and Tony Richardson. The term was used to designate a number of documentary films they made during the 1950s. The ideals held in common were that documentary films should be made free of all commercial pressures. That they should be inflected with a humanistic and poetic approach. This gave the work of Humphrey Jennings over that of John Grierson. Both anderson and Reisz were critics for the film magazine Sequence . The magazine criticisd British documentary for being conformist and feature filmmaking for its lack of aesthetic innovation. They also criticised the monopoly practices of British cinema. They also criticised the predominant genres of war films -which seemed to glorify war and avoid the horrors - and weak comedies. Their own shorts were largely self-funded although some grant money from the BFI was forthcoming. Ford UK was also a significant source of funding. Ford commissioned a series of documentaries ‘Look at Britain’. Free Cinema was responsible for Every Day Except Christmas : Anderson (1957) and Karel Reisz’s We Are the Lambeth Boys (1959). These filmmakers believed in representing working class culture as it was lived. The editing was very rhythmic dliberately connoting Jazz which had become an important part of working class subculture. Stylistically these 3 directors were smilar and 4 out of the 6 films they made had Walter Lasally as the cinematographer. The directors they were influenced by included John Ford, Marcel Carne, Jean Cocteau, Jean Gremillon, Humprey Jennings, Jean Renoir, Vittorio de Sica and Jean Vigo.

GPO Film Unit. This started under Grierson in 1933 after the Empire Marketing Board was wound up. It became the main institution to be associated with documentary film in the 1930s. It had a wide brief only some being linked directly to the Post Office. The films were heavily influenced by montage alongside a committment to representing ordinary people. It was propagandist in so far as it existed to serve the needs and purposes of the state. After Cavalcanti joined the unit there was also experiment with sound montage. Tensions arose between exponents of developing new forms and those who emphasised a more straightforward aproach. Later 1930s films tend to be less experimental than the earlier ones. There was also the development of drama documentaries. Many of the Unit’s conceptions were based around a similar public service principle to the BBC. In 1937 Cavalcanti took over the unit. In 1940 the unit was renamed the Crown Film Unit under the Ministry of Information.

Handheld Camera. Rather than using a tripod, dolly or crane the camera operator had far more flexibility and mobility. Images produced handheld weren't stable before the development of the steadicam. This created a certain look and feel usually associated with cinema verite and Direct Cinema both of which sought to follow profilmic events as they happened.




Woman with Steadicam System

This Steadicam system allows film makers to significantly reduce the unstable feeling of handheld cinematography. Handheld photography can now be used as an artistic device to impart a feeling of reality for the viewer. A good example of this is the sequence in Saving Private Ryan where the American troops are pinned down on the beach by Nazi gunfire as they launch the invasion of France.









Observational Cinema. This is a type of cinema in which the camera follows the profilmic events as they happen intending to reveal truths about these events. Ethnographic film, cinema Verite and Direct Cinema are all types of observational cinema. The question of whether and how much the film exploits, manipulates or documents the social actors are central. The films are seen as relatively truthful as they aren’t constrained by the technological limitations of older equipment which required dramatic reconstruction and a voice of god narrator.

Portable Sound Recording. Sound recording of location sound remained a problem until the 1950s when the break through in electronics which saw the development of the transistor meant that locational synchronised sound and filming was possible. This encoured styles such as cinema verite and Direct Cinema. The Swiss Nagra sound recorder was very popular with the French New Wave.

Profilmic Event. This is a theoretical term for the reality in front of the camera which is photographed. In observational documentary such as Direct Cinema / Ethnographic Cinema / Cinema Verite film makers aim to preserve the spatial and temporal integrity of these events (what is filmed) as much as possible

Voice of God Narration. The term has developed to describe the use of voice-over in documentary films. It is often used to describe the voice-over style used in Grierson produced documentaries. The voice is usually male, disembodied and omniscient. This style has been rejected by documentary makers in recent times as it is considered as being patriarchal, ethnocentric and manipulative. Personal voice-over is often used as in Roger and Me (Michael Moore, 1989)




Other Kinoeye glossaries include:


European Cinema and Media Glossary A-E

European Cinema and Media Glossary  Ed-Mo




Glossary of New Media Technologies (A-N)

Glossary of New Media Technologies (O-Z)





January 01, 2008

Globalisation

Globalisation


Global Wealth distribution in 2000

Please note currently under construction

For further Kinoeye reference pages please go to the: Kinoeye Reference Hub

Introduction 

Globalisation is a very important concept which helps to explain the state of the contemporary World. Media and  Communications theorists have played an important role in developing the theories of globalisation going back to the work of Marshall McLuhan in the early 1960s. Globalisation itself can be broken down into several distinct spheres for the purposes of discussion. These spheres of course overlap in practice but it is useful to identify the spheres as economic, political, and cultural. If you have found this page and others associated with it as they are built, you are likely to have come from a films page. The importance of this more abstract work is to try and gain a more anchored understanding of what it is the fim makers are representing at the level of the underlying process which position particular human actors in these sorts of positions and which the film actors are portraying.

Rocco Migrant Train in Milan from the South

From Rocco and His Brothers 1960. Arrival in Milan carrying migrant labour from the Mezzogiorno

Whilst contemporary British cinema is currently perhaps  the best in the World when it comes to representing these issues it should not be forgotten that other films have represented the economic and political processes which force migration and diaspora. Notable amongst these are Visconti's Rocco and his Brothers (1960) which charted through representing the developments in a single family the massive internal migration in Italy from south to north which was the basis of the Italian postwar 'economic miracle' , and Fassbinder's Fear Eats the Soul (1974) about the infamous Gastarbeiter economic system which existed in Germany and was crucial to its postwar economic re-development. By comparison Britain and France were reliant upon their colonies and empires which as they were breaking up also provided much needed labour upon which their postwar restructuring and development was based upon. Another film which shows the brutal exploitation of ordinary people especially women is Lucas Moodysson's Lilya 4-Ever based upon the true story of a Lithuanian teenage girl who gets trapped  into the global sex-slave trade as the former Soviet Union is economically devastated by the shock therapy regime imposed by the Thatcher Reagan neo-liberal planners. 



Fear Eats The Soul 1

Image from Fassbinder's powerful film Fear Eats the Soul (1974) examining the Gastarbeiter sytem and also tackling ageism and attitudes to mixed race relationships in society.



Globalisation and Economics

In talking about globalisation and economics what is meant is the transformation of the different styles and types of economies into an integrated system in which each part becomes increasingly interdependent with the other parts.

The most important area of change has been the globalisation of financial markets. This is apparent in the flows of capital around the world with money being exchanged electronically. The money is used to finance international trade and for a range of investment purposes. Thiese could range to the investment in physical goods especially by Multinational companies (NMCs) or else by financial institutions using financial instruments such as the 'carry trade'. The carry trade is where institutions buy a currency such as the Japanese Yen which is at a very low interst rate. They then reinvest this money in a fairly safe currency like the US Dollar which pays a much higher interest. The finacial company concerned pockets the difference. (Mad or what?). 

Financial globalisation really got under way once information technology had improved. Global markets can now operate in real time and funds can be transferred instantaneously.

another key aspect of economic globalisation is the continuing increase in wealth and power of Multi-National Companies.  They are largely responsible for the massive increase in global trade since the middle of the 1980s. The largest ones have economic turnovers and earn greater amounts of money that far exceed many smaller nations. As a result say Abercrombie et al MNCs: 

...are largely beyond the control of any national government (Abercrombie et al 2000 p 153).

With the increasing intensifcation of the networked society Castells identified a tendency for the increasing power of criminal networks which have a global reach.  

Globalisation and Culture

It is argued that there is an increasing globalisation of culture especially through the:

  1. The increasing power and extended global reach of Mass Media Companies - which are often MNCs. Some argue there is a form of cultural imperialism being operated through mass media companies
  2. Mechanisms of mass tourism
  3. Increasing flows of migration as a response to economic change
  4. An ideology of consumerism which some argue is 'debasing' local cultures
  5. The marketing activites of Multi-National Companies (MNCs)

In the field of culture these influences and processes have lead to the theorisation of hybridity which refers to the ways in which these processes are articulated in tensions and changes concerning local customs and practices in relation to emerging standards and ideas often present in the cosmopolitan mega-cities or megalopolis.

    Globalisation and Politics 

    In the realm of politics but with strong overlaps to economics there has been a rise in the importance of powerful international agencie such as the World Bank, the International Monetary Fund (IMF), and the World Trade Organisation (WTO). These are in an increasingly powerful position to regulate the World economy and thus limit the powers of national states.

    Political sociologists have identified a number of issues which appear to be eroding the power of national states. These include environmental issues, citizenship rights and definitions, migration and inter-ethnic / inter-racial conflict. 

    Bibliography

    Abercrombie, Hill and Turner. 2000 (4th edition): The Penguin Dictionary of Sociology. Harmondsworth: Penguin

    Webliography 

    Globalisation A BBC Hub Page


    March 15, 2007

    Glossary for New Media Technologies: A–N

    Introduction

    This glossary was originally created for the AS New Media Technologies Unit.


    Please note that this glossary is updated and expanded fairly regularly. It is intended that this will give you access to a wide range of terms that are conceptual as well as technical. You don’t have to learn all the terms just use the glossary as a point of reference to help you out if you get stuck. Hope you find it useful.


    The development of Web 2.0 with the ability to gain feeds about new media technologies should make it easier to keep updated.


    Students are strongly advised to add in feeds from sources such as the BBC Technology pages onto their own blogs in order to keep abreast of any changes.



    The Glossary


    Advertising. Any new mass media has enormous advertising potential as it can bring together audiences and advertisers in new and more effective ways. See paid for search and online advertising.


    Analogue. Non digital form of recording and reproduction. Standard terrestrial TV is still fed from analogue transmissions however these are gradually being replaced by digital free-to-air services transmitted by the BBC. See linear editing.


    ASDL. A broadband digital transmission technology which can send far more data down existing domestic phone lines than either conventional modems or ISDN. BT’s system offers half a megabyte per second. In Japan the latest in ASDL technology is offering Megabytes per second. This is more than adequate to use full-frame video streaming. Even faster FTTH technology is being pushed in Japan. Being cheaper to install it is now the major competitor to digital cable links provided by companies such as NTL. It requires special equipment at the exchange. ASDL is likely to be available to 90% of the population by mid-2005.

    BT are also experimenting with mid-band.


    Bandwidth. The amount of digitally encoded data which can be transmitted by particular systems.


    Blogs. User generated material on specially created programmes that require no knowledge of coding and mark-up language. Now used for a variety of purposes from personal to political and company driven. A core part of Web 2 (2.0) if you like. Here is the Wikipedia entry


    Blueray. See Format wars


    Bluetooth. This is a wireless system which allows different products to communicate with each other using a common protocol. It is able to transmit large amounts of data. Portable computers can link to desktop computers or mobile phones via Bluetooth. You may well have a mobile phone with a Bluetooth wireless earpiece for example.


    Broadband. The digital Holy Grail is having all homes linked to broadband networks which can handle huge amounts of digitally encoded data. It should be possible to be engaged in such things as video-conferencing and downloading films in real-time simultaneously in the same household. Likely to take several years to be fully developed and installed in a significant number of households. An important feature is the ability to have two of more computers from the same household linked to the internet. Currently it costs about £30 per month. Rumoured that the latest hard-disc recorders will add broadband internet access and be able to stream video and audio to TV, See also digital set-top boxes. Since writing this not so long ago the scenario has changed dramatically in the UK. This January 2007 story from the BBC shows "BT as having signed up 10 million broadband users".

    CD Rewritable. This is a CD which can be recorded and then recorded over rather like an audiocassette. Not all CD-Players can replay these however as the system works on different laser frequencies. See also Rewritable digital media.

    CD-Rom. These are CDs which are Read Only Memory (ROM). These are used for selling computer programmes. The data on them cannot be changed.

    Citizenship. This concept builds on earlier ideas of citizenship which focused upon economic, political and social concerns. Economic citizenship gave people the right to trade, political citizenship gave people the rights to vote and have representative electable governments with powers limited by law. Social citizenship gave people the right to health care, education and pensions. See also cultural citizenship.

    CMS. see Content Management Software.

    Content Management Software. Content management software helps users organise their download materials. iTunes is probably the best known of these. It can be used to subsribe to podcast services for example as well a place where music or video content may be purchased. You can click this link to go to the free iTunes downloads site. (This should not be deemed as an endoresment of Apple's CMS above any other ones.). News from the BBC 12th of Jan 07 says that iTunes has made a deal with the Sundance film festival to make films available for download.


    Convergence. You must know this term for the OCR AS exam*. This is the current process whereby new media and communications technologies are changing not only our media equipment but changing the ways old media institutions have worked. It is also globalising and changing our systems of gaining knowledge. The process is still in transition with new developments rapidly emerging. In a few years these processes will have matured and will be less dynamic. The way that mobile phones are now turning into multi-player gaming machines or able to provide location based information and send back images by wireless technology is a good example of convergent technologies creating new markets. See iPhone for a good example of this.

    Cultural Citizenship. Cultural citizenship is about access to systems of representation within the arts and media to ensure that all have the knowledge and capabilities to represent themselves.

    Cybersquatters. These are companies or individuals individuals who have registered variations or misspellings of its key brands, such as “Xbox”. They can make a lot of money out of this and also get respectable brands bad reputations. http://news.bbc.co.uk/2/hi/technology/6449363.stm

    Device for digitally storing still images. Whilst still unable to achieve the levels of image definition of conventional film higher capacity chips and storage systems are continuously eroding the quality difference. With the correct devices an image can be transmitted over the web instantaneously.

    Desktop Recording Studio. The growth of podcasting has seen a growth of available desktop recording studios with some being USB powered and others having separate power supplies. Often small but flexible units they provide an interface with analogue microphones and computers. They can be combined with powerful software to create different effects and they can also have inputs from devices such as CD players and electronic instruments. empowering users to podcast onto the internet they are powerful tools in the collaborative and user generated world of Web 2.0. Below an early model the Lexicon Omega and the more recent Digidesign MBox2.

    Lexicon Omega Interface












    Digidesign MBox 2


    Digital Distribution. It is necessary to differentiate between models of 'Business to Business' distribution and 'Business to Consumer' distribution. Digital forms of distribution can be advantageous to both small-scale ‘cottage’ industry sized companies and large media corporations. Digital videos can be distributed globally by specialist we-sites globally when users have high speed connections. They are only likely to find individuals often with little purchasing power. Large film companies can distribute to points of mass exhibition such as cinemas or outdoor arenas by high speed optic fibre cable or else via digital satellite links. With encrypted technologies it is now possible to release a film globally in cinemas if necessary in different versions for different markets on the same day. This will reduce piracy and maximise marketing opportunities whilst reducing significantly distribution costs. The ability to respond instantly to audience demand by downloading onto servers instead of relying on expensive and relatively slow multiple copy distribution will help increase profits and retain and develop audiences.


    Digital divide. A very important social and cultural concept of the ‘information age’. This term refers to those who have access to a wide range of digital communications systems in terms of cost and knowledge and those who are excluded from this. It is becoming a serious problem of citizenship.

    Digital set-top box. These boxes can receive digitally transmitted TV and Radio transmissions via satellite ( typically in Britain Sky), cable ( typically in Britain NTL and Telewest) and a standard TV aerial ( Freeview). Pace in conjunction with Sky + and others with hard disc-based digital recorders. Sky + has a 40 Gigabyte hard disc. A similar box is now being offered to Freeview viewers. It has a twin tuner and a 20 gigabyte hard disc. With a twin tuner it is possible to watch one programme or listen to radio whilst recording another.

    Digital storage medium. Generic term for a wide range of storage media such as mini-disc, CD, CD-ROM, Hard disc, floppy-disc etc. These media may sometimes be designed by a company to only fit their products. Others will be generic. Some will be read only such as a CD or DVD game or film. Others are random access and as such can be totally or partially used many times.

    Digital Versatile Disc / DVD. A disc which although the same size as a CD can hold many times the amount of data due to a combination of more sophisticated data compression systems, the ability to store and retrieve data from different levels of the disc. This means that moving images can be stored in a way which is more permanent than tape and maintains its quality over time, whereas tape particles lose their magnetism and lose details. Research is going on to more than double the storage capacity of the current DVD’s by using different laser technologies. The ‘versatility’ referred to in the name means that the equipment incorporates technical standards which means that digital information relating to images - static or moving sounds or text can be stored and retrieved.

    DRM. (Meaning 1) Digital Rights Management. This is a major concern for companies and individuals dependent upon traditional copyright legislation to protect their intellectual rights. Within the the world of the web the Napster free downloding company became renowned for breaking these copyright rules in the USA. It was eventually forced to concede by the big record companies. 'Pirate downloading' is still seen as a major problem by many media comapnies. At the time of writing Viacom was taking Google to court with a $1 billion law suit relating to the copyrighted material availble on YouTube which was bought buy Google in 2006. The Wikipedia entry states:

    Digital Rights Management (generally abbreviated to DRM) is an umbrella term that refers to any of several technologies used by publishers or copyright owners to control access to and usage of digital data or hardware, and to restrictions associated with a specific instance of a digital work or device. The term is often confused with copy protection and technical protection measures; these two terms refer to technologies that control or restrict the use and access of digital content on electronic devices with such technologies installed, acting as components of a DRM design. 

    DRM.  (Meaning 2) DRM or Digital Radio Mondiale is the world's only, open standard digital radio system for short-wave, AM/medium-wave and long-wave. It has been endorsed by the ITU, IEC and ETSI. DRM is the only universal, open standard digital AM radio system with near-FM quality sound available to markets worldwide. Unlike digital systems that require a new frequency allocation, DRM uses existing AM broadcast frequency bands. The DRM signal is designed to fit in with the existing AM broadcast band plan. Below a Morphy richards DRM Radio.

    DRM Radio






    DVB-H (Digital Video Broadcasting for Handhelds). At 2007 CEBIT Nokia showed off its N92, which is due to launch later this year, which has a DVB-H tuner built in as well as access to an electronic programme guide so you can plan what you watch on your handset.


    DVD-Audio. A music format which by having a higher sampling rate than conventional CDs can create more ‘natural sounding’ music.


    DVD-HD. This is a new high definition format which Toshiba and its backers including Microsoft launched in 2006. It is one side of a format war with Sony who along with many consumer electronics heavyweights such as Philips and Panasonic have now launched Bluray. This is also supported by many Hollywood Studios.


    DVD Recordable. A new breed of domestic machines has now appeared which can record TV or films in DVD format. Whilst currently still very expensive it is probable that they will replace the VCR in most households in 5 years time. They will be able to record digital radio signals as well. There is not currently a standardised format which makes things difficult for consumers.

    Digital Video. Often called DV as an abbreviation. The ability to 'capture' moving images without the use of film on a digital storage format. The data can be edited ( post-production) digitally and streamed onto the web or put on a DVD or CD.


    Dolby surround sound. This is a digital sound decoding system which provides the surround sound features now standard in cinemas. It is also a feature of domestic audio visual surround-sound systems and can disperse the sound around up to 7 ordinary loudspeakers and a sub-woofer to deal with very deep bass sounds known as a 7.1 system.


    Download. The expression for taking things from the Internet and putting them onto your computer either temporarily or permanently.


    E-commerce B2C. ( business-to-consumer): IdTV and mobile are likely to be the devices which dominate this sector by volume rather than by commercial value. ( see also T-commerce )


    Encryption. This makes it impossible to use media texts without having specialist software able to read the security encryption. This is to reduce software piracy and will enable large companies to retain more effective control over their products. Digitised products can be kept in high security systems and downloaded in encrypted form by cinemas for example. See digital distribution


    Entertainment Phones. The world’s largest mobile phone manufacturer is producing a new product clled Ngage. Containing on-board memory cards it will be able to play high speed games. The phone will be expensive and currently the possibilities of multi-player gaming on-line are perceived of as very limited. It requires the development of the youth market who are least able to afford this level of sophistication.


    Firewalls. This is security software which stops unwanted e.mails or hackers getting into your computer when it is online. As such it is much more sophisticated than straight-forward anti-virus software. It is becoming increasingly important to have this software installed as the internet grows in size and complexity.


    Flash Memory. Flash memory is solid state memory. It exists on cards such as Secure Digital cards commonly used in digital cameras and also as USB Flash Drives It is fast, versatile and more resilient to damage by dropping than conventional hard drives. The technology is advancing quickly and for high small computers which firms like "Samsung envisage as 'Super-Blackberries' it will be the first choice over conventional hard drives. For those wishing to conduct electronic warfare the Swiss Army USB drive knife seems like a perfect solution. Doubtless they will be found on Chanel lipsticks soon!


    Flash Memory Swiss Army Knife


    New memory for 2007 is going to be HHD or Hybrid Hard Drives. Vista the new Microsoft operating system is supporting them and Apple is also in the game. See HDD for more info.


    Format Wars. "HD-DVD / Blueray Hybrid."


    Free-to-Air. Digitally transmitted TV and radio services which cost the viewer no more than the standard licence fee.


    FTTH. Fibre to the home technologies currently being pushed as the next big thing in Japan. This would enable a home to be watching several films in different parts of the house.


    Global Positioning System ( GPS ). The ability to find out where you are in the world through special equipment including expensive mobile phones. These link with a satellite to give a precise position. See also Location-based services. Latest gizmo ‘The Hoppy’. Aimed at tourists this device monitors GPS satellites and gives an commentary stored on mini CD using MP3 data compression technology. When triggered by the GPS signals. It can be connected to the car stereo giving information to the driver in real time.


    Google. An example of an internet search engine. It became a member of the American stock market in 2004 and first started in 1998. Its founders Sergey Brin and Larry Page were worth an estimated $10 billion each in August 2005.


    GPS. See Global Positioning Systems.


    HHD. 2007 will see the first Hybrid Hard Drives appear on production models of computers. This is likely to be particularly relevant to the "high end laptop market. However Sandisc has already announced a flash memory card which is claims is superior to HHD (see below). Whatever else the effect on small devices which demand high storage such as HD-video are likely to see these appearing.


    Sandisk 32 Gb flash drive



    Hard-disc recorder. A digital recording machine which records other digital sources on a hard disc similar to the ones found in computers. The advantage over a CD or DVD recorder is that material can be more easily edited before being recorded on another more permanent medium such as a recordable CD. (See also under Broadband).



    HD-TV. High definition TVs came on sale in Britain in a big way in 2006 in the run up to the World Cup. whilst the quality is undoubtedly excellent when you see one with a live HD feed there is a problem in the UK of a lack of available programme material in HD. Rumour has it that many people are happily watching their HD TV not realising that the images are not being broadcast in HD. HD-DVDs also became available in 2006 led by Toshiba who have also brought out an HD-DVD Recordable. See also format wars. For a technical break down of the superior definition see "Wikipedia definition".


    Hype Cycle. The Hype Cycle, used by Gartner to track the adoption of new technologies, has five distinct phases: “Technology Trigger,” “Peak of Inflated Expectations,” “Trough of Disillusionment,” “Slope of Enlightenment,” and “Plateau of Productivity.” "Link to debate between Gartner and Second Life reported by Reuters Jan 04 / 07 ."


    Hypertext. The new aesthetic of the digital era. Originally perceived as the ability to move around a text through links making a medium non-linear and allowing a viewer to make some narrative decisions interactively. Dan Fleming (2000) suggests that there will be hyperlinking across media forms to produce metaforms.


    IdTV. Interactive digital television. Currently at a simple level of development. Press red button to vote yes/no on an issue on the programme, or to get a brochure if it is an advert. 32 million households in Europe were expected to have this by end of 2003. This is likely to develop into a way of buying which means that media companies will gain transaction fees as well as advertising. In 2003 interactive games were the most successful market development in interactive TV. The rapid growth of the internet as an important vehicle for buying goods and services may well have made this technology semi-redundant since the time of writing and up-to-date sales figures havn't been seen. Certainly along with mainstream TV this seems to be a technological dinosaur.


    Immersive environments. see Virtual Reality


    Information filters. Media products which review various media outputs and industrial activities to synthesize and perhaps analyse these products and processes. These are necessary to cope with information overload.

    Information gateways. A service, programme etc which provides access to media filtering and media metaforms.


    Information inequality. Sometimes described as the ‘Digital Divide’. This expresses the concern that society will become polarised between the ‘digital haves’ and ‘have-nots’ forming another division in society. The lack of availability of information or else low quality information will directly impact upon citizenship.


    Information Society. Many sociologists and media commentators are now suggesting that advanced western societies are increasingly becoming societies based upon the use of digitally stored information or data. This is increasingly affecting all our social cultural and scientific systems. Leadeing commentators on this such as Manual Castells have changed their ideas to calling contemporary society the Networked Society.


    Interactive. This is an essential term to understand. Digital technologies are provide a wide range of interactivity which allow audiences to interact with the media product such as a TV show requiring some input or the ability to access certain stories stored on news programmes. Audiences can also provide feedback to media institutions large or small about their needs desires and criticisms of a media text in real time. This means that the man of the difficulties of creating and retaining an audience can be facilitated through these interactive monitoring systems. With mobile phone systems location based services can be accessed and information sent received such as booking a hotel or finding out what is on.


    Interactive TV. The ability to feedback information into the TV system. This requires digital technology. Typically the flow of information from the receiver


    Interface. Interfacing is the way in which people use technologies. A mouse or keyboard is the way we usually interface with computers. For games machines and consoles a range of joysticks were developed. The latest ways of interfacing are through digital imaging where a digital camera can image a subject and store this in the machine in ways that link to icons on the screen. The person can trigger these icons remotely via the camera link. This is the next technological step towards a more immersive environment. Both gamers and various sorts of artists such as dancers are beginning to exploit this technology which will become increasingly common. For one of the leading places to investigate human computer interfacing check out the MIT Media Lab. Wacky stuff including intelligent clothing.

    Internet history of: See BBC History of the Internet


    Internet Search Engine. To navigate the internet effectively it became necessary to invent new software to make a rapid search of the millions of domain names which mushroomed on after the start of the World Wide Web in the mid 1990s. These include search engines such as Yahoo and MSN. The most successful to date is Google. The way in which the companies who run these make money is by selling advertising space. See Paid for search.


    iPhone. January 2007 CES saw the awaited launch of Apple's iPhone. This is a fine example of convergent technology in which a phone is able to download both music and video. The screen is a widescreen. The phone is also controlled via a touch screen rather than conventional buttons. Steve Jobs is claiming to have reinvented the phone. Some find Apple less than tempting however...


    The Financial Times editorial comment found time to poke fun at iPhone at the weekend (Jan 13th 2007).

    iPhone Launch Jaunuary CES 2007




    iPod. An MP3 style music player which has been produced by Apple and has rapidly become a design icon much as the Sony Walkman did in the 1980s. At the time of writing (Aug 2005) Nokia the mobile phone company has planned a phone camera which will also be able to store s much music as a mini-iPod which it considers will rapidly outsell iPods. These phones are now comonplace but iPod is still ahead of the game. See also iTunes / podcasting.

    Below iPod Nanos:

    iPod Nanos







    IPTV. IPTV is the current holy grail for the giants of the new media industries which is "delivery of video content via the net". Ideally this should be accessible in all rooms being streamed from a computer. Various industry linkups are being made between Microsoft and BT for example. Apple too is very interested. Another company on the scene is Sony who wish to use their long awaited Play-Station 3 to provide Blueray streaming to well Sony TVs of course1.

    Apples Internet TV vision











    ISDN. This is a high-speed data-link for computer communications. In Britain BT kept the price too high and people used conventional modems. It runs at 128 Kilobits per second twice as fast as an ordinary modem and it is possible to use the phone at the same time. It is now being superseded by ASDL and broadband technologies. At time of writing in 2007 it is now dead in the water as Broadband has taken off.


    LAN. This is a local area network in which two or more computers are connected together. In the past this has been done by installing special cards and cables to connect to computers together physically. This is likely to change very soon with the commercialisation of Wi-Fi.

    Linear editing. Video-recorders are examples of this technology. Unable to immediately access any of the date unlike data on a hard drive. This kind of editing is very slow and there is a loss of quality involved. To reproduce the text on the internet, via digital satellite or on DVDs the text must be digitally re-mastered. See also non-linear editing.

    Local area Network. See under LAN and Wi-Fi


    Location-based Services. The ability to be able to locate a person’s mobile phone handset, by working out which cell it is nearest to. Information can be passed to the emergency services for example. The new mobile network ‘3’ uses GPS to provide more accurate positioning. This information can be updated as a person moves.


    Long Tail The. At its heart the idea of the long tail is straightforward. Online distirutors are able to carry much larger stocks or else can order instantly from small suppliers who are prepared to keep their publications / music available for enthusiasts. It is now much easier for consumers to access these products instead of being limited to what any particualr high street shop chooses to carry on its shelves.

    Below representation of the long tail in the media through an analysis of Rhapsody an online store.

    The Long Tail in Media















    Massively Multiplayer Online Role Playing Game. MMRPG’s for short. They are pervasive ( diffusing ) virtual environments populated by human-controlled digital people from around the globe. Players develop characters, work towards goals, solve puzzles. They are the visual marriage of text-based adventures and chat rooms. They are proving particularly attractive to women. Below image from the popular World of Warcraft.

    World of Warcraft









    Media ‘metaforms'. This is (1) the growth of television programmes, print media, websites devoted to other media. Some consider these programmes as just a case of self-absorption and a loss of contact from ‘the real’ ( wars, disasters, politics and policy etc.) Others argue that this is a sign of a growing need for data to make sense of other data leading to new relationships between audience and ‘text’. The metaforms which comprised the ‘Blairwitch Project’ can be seen as an example of an aesthetic life of its own being created which is not secondary to an original product. There was a movie, book and websites which became ‘official’ and ‘unofficial’ all of which were self-referential but also blurred the distinctions between ‘fact’ and ‘fiction’.. See also hypertext. See metadata gateways. (2) Growth of cross-media marketing strategies see total marketing.


    Metadata gateways. These are currently being developed perhaps most successfully on the web and are likely to transfer to other media forms with the increasing convergence of technologies.


    Metaforms. See media metaforms.


    Midband. This offers 128 kilobits per second internet connection which is three times faster than a standard connection. Calls can be made simultaneously but will halve the net connection speed. This speed is still only 25% of an ASDL connection. The system is likely to appeal to those in rural locations without access to cable or ASDL. This is rapidly being made redundant.


    Mini-disc. A rewritable digital recording system which can comfortably work when mobile. It records at half the data rate of conventional CDs and therefore quality is compromised. The rapid rise of MP3 and iPods is rapidly making this redunant technology.


    MPEG. A data compression system which allows the recording and transmission of images using relatively small amounts of memory.


    MMRPG. See Massively Multiplayer Online role Playing Game.


    MP3. A digital compression system for transmitting music over the internet with short download times. The rate of sampling is only about half as much as on conventional CDs therefore quality is compromised. It is claimed that psychoacoustically people effectively notice little or no difference.


    Narrowband. This is a standard internet connection via a dial-up modem. Maximum speed of these is 56 Kilobits of data per second. In reality depending upon line conditions these modems connect at about 40 kilobits per second. This is fine for basic e.mail and text-based websites. Audio, video and software downloads require broadband connections. A disadvantage of narrowband is that the phone cannot be used at the same time.


    Non-linear editing. This is using hard discs on computers or now dedicated hard-disc digital recorders to edit sound and images. It is non-linear because any part of the information can be easily accessed unlike videotape which has to be dealt with on liner editing suites. This form of editing is especially useful for Digital Video enabling small-scale film makers to create and place their products on the internet fast and cheaply. See also linear editing.






    January 13, 2007

    New Media Glossary Continued: O–Z

    Follow-up to Glossary for New Media Technologies: A–N from Kinoeye

    Online advertising. See separate entry.

    Paid for Search. Internet search engines have rapidly become one of the most successful and effective ways in which new media has been able to act as a vehicle for advertisers. The main way that the search engines make money is by selling links to the advertisers websites which are displayed alongside the research results. Almost everybody who uses the internet (the number increases dramatically every year) needs to use a search engine. This means that there is effectively a captive market exposed to advertising. This is compared with other ingenious systems such as pop-up advertising which can be filtered out by the use of firewall software.

    Podcasting. Podcasting is rapidly becoming the new buzz thing at the time of writing. Podcasting allows anybody with digital audio recording technology to download programmes onto a computer and from there onto the internet. These podcasts can be downloaded onto iPods / MP3 players and represent a new way of finding audiences particularly for smaller organisations, however now there has been some success companies such as the BBC are looking at the potential. It has become an important part of Web 2.0. Watch this space!! Below the recent launch of the rode Podcaster microphone with USB connection and input for headphones has set the agenda for 2007. Expect to see more versions of this appear in 2007 from competitors.

    The Rode Podcaster in Action

    PSP or Playstation Portable. Launched in the UK on September 1st 2005. It is billed as the new ‘must have’ gadget which some are suggesting that will finally see the much vaunted term convergence start to happen.

    Sony Playstation Portable

    Rewritable digital media. The ability to record use and then record something else over the top as with the old analogue cassette and video-cassettes for example. Digital audio-cassettes followed by mini-discs were the first of these onto the domestic and semi-professional market-place and were expensive. The market driven by the PC means that most computers now come with rewritable-CD for backing-up information. It is now becoming increasingly common to get rewritable-DVD both as stand-alone machines and built into computers. These are likely to replace the domestic video-recorder in the next few years.

    RSS. RSS stands for ‘Really Simple Syndication’. RSS feeds are just a special kind of web page, designed to be read by computers rather than people. It might help to think of them as the free, internet version of the old-fashioned ticker-tape news wire machines. Not all websites currently provide RSS, but it is growing rapidly in popularity and many others, including the BBC, Guardian, New York Times and CNN provide it. Below is the icon for an RSS feed. Here is part of the Wikipedia definition. Users of RSS content use programs called feed ‘readers’ or ‘aggregators’: the user ‘subscribes’ to a feed by supplying to their reader a link to the feed; the reader can then check the user’s subscribed feeds to see if any of those feeds have new content since the last time it checked, and if so, retrieve that content and present it to the user.

    RSS Icon for web feeds

    Second Life. Virtual worlds are becoming a big thing. They are working on different models of development. The World of Warcraft is dungeons and dragons for the web however Second Life is a far more creative and dynamic model which is generating real interest in the world of business as well as individual adventurers. To get a better feel of what Second Life is about please use the tag in this blog’s side-bar which will give you a lot of pages which have relevant links. Please also see the entry which is summarising the Net interview with Philip Rosedale the founder of Second Life. Certainly some are beginning to see Second Life as the new ‘killer’ application for the broaqdband era for it is the availability of cheap broadband that is a core technology in allowing the model to operate. Broadband is to Second Life what roads are to a city.Potentially Second Life could become a huge business. Below see their recruitment poster:

    Recruitment Banner for Second Life Virtual Environments

    Set-top box. See digital set-top box

    Sling-box. Launched in 2006 this technology enables people to access their TV systems via a broadband connection and thier home computer enabling them to watch local live TV from anywhere in the world. House owners can access their security cameras and at least one owner discovered people breaking into his home when he was on holiday and he was able to alert the police!

    Slingbox TV

    Social Networking. Here is a recent BBC definition Websites such as MySpace give users a chunk of webspace they can personalise with images, video and blog entries.To this they add a messaging system that lets members keep in touch with friends on the same network. In the past few years these sites have become hugely popular among young people and some, such as MySpace, are by some measures challenging Yahoo and Google for the title of most popular site on the net. The link also reports on the popularity amongst US teenagers.

    Solid State Digital Recorders. The growth of podcasting has brought a much market to the relatively unknown solid state digital recording market. For podcasters, musicians and radio reporters these devices make recording live much easier and more reliable than DAT (Digital Audio Tape) and the Minidisc. It is expected that these older technologies will quickly die out.

    Edirol R0-9

    Tascam HDP 2

    Splog. This word is a combination of spam and blog. A splog exists in order to get ad impresssions or provide links to other sites. “Usually these sites contain giiberish or an unruly combination of content stolen from other sites.” (Grapone & Couzin. Search Engine Optimisation, 2nd Ed, 2008)

    Tagging. This is becoming an increasingly common way of navigating around sites. This entry has a range of tags at the bottom and you probably got her by using the tag for glossaries in the sidebar. This BBC technology story gives you more details. Below is a quote from Mr Weinberger from this story:

    “Tagging allows social groups to form around similarities of interests and points of view. If you’re using the same tags as I do, we probably share some deep commonalities,” he told Pew Internet.

    This story also debates the advantages and disadvantages of tagging as an important way of logging data effectively so that it can be easily searched for.

    T-commerce. The growing marketplace for commercial transactions via the idTV. Lottery tickets, games, sports-betting, pay-per-view, travel tickets and more. Will require new forms of micro-payments as the subscriber may not be the person doing the buying.

    Third Generation / 3G. Third generation mobile phones enabling customers to view video-footage. The mobile phone will then become a multi-media device. First company in the UK to deliver the service will be 3. Date of launch currently unknown likely to be early March 2003. Owned by Hutchinson a Hong-Kong based conglomerate which launched Orange. What the multi-media content is the key to success. Currently 100 content providers have signed deals with 3 including the FA Premier League and news companies ITN and Reuters. The video footage will not be real-time because of technological constraints.

    THX. Sound system for surround-sound cinema and home cinema systems licensed by Lucas Laboratories. There are very exacting specifications of sound reproduction required before a licence is granted.

    Total marketing. The elaboration of metaforms for the sake of greater profits. First seen in children’s popular culture with toy lines being developed into TV programmes or the other way around. Later developed into the usual sort of ‘spin-offs’.

    USB. Universal Serial Bus. The development of the USB port for computers meant that PCs finally caught up with Macs as items such as printers, cameras and cameras could ‘plug and play’. in other words just be connected to a USB port. Now microphones, audio interfaces and special headphones are coming out with USB connections to feed the voracious Web 2.0 user generated content market.

    User Generated Content. Old media and new media are interacting. Users are able to and frequently do send news companies instant news via texts, camera phones etc. The issue becomes how to rank these stories.
    Here is a Reuters story on ‘User Generated Content’ from Jan 03 / 07 .

    Viral Advertising / viral marketing. An extract from the Wikipedia entry. Viral marketing and viral advertising refer to marketing techniques that use pre-existing social networks to produce increases in brand awareness, through self-replicating viral processes, analogous to the spread of pathological and computer viruses. It can often be word-of-mouth delivered and enhanced online; it can harness the network effect of the Internet and can be very useful in reaching a large number of people rapidly. Here’s what Alex West who Alex West, who launched the first-ever Viral Awards says:

    What agencies are saying now is you need to buy consumers’ time, and to do that you need to entertain them and give them something back.

    Certainly this new advertising method is set to change the way advertising works. See Channel 4 article here.

    Virtual Reality or VR. The search for fully immersive computer generated environments which could be interactive games, or ‘game narratives’. See also the fascinating development under Second Life which is going beyond any of these.

    Voice over Internet Protocol. This is a service introduced by British Telecom /BT in January 2004. It enables users to use broadband connections to make phone calls to phones from computers and the other way around. This is an advance over previous systems in which users have only been able to make Internet phone calls between computers. In May 2004 a less sophisticated version of the system will be sold to the mass market domestic consumer. BT hope this will help persuade more consumers to upgrade to broadband systems. At time of writing Google have just announced a new internet based telephone service which is likely to be highly successful.

    Vlog a video based blog. see vodcasting below for a good link. Also see blogs for more on Web 2.0 publishing.

    VODcasting. This is podcasting but based upon the idea of Video on Demand hence the VOD. This article from Missouri University provides a useful explanation in full.

    VoIP. see Voice over Internet Protocol

    VR. See Virtual Reality and entry on Second Life

    Weblogs. See Blogs.

    Web 2.0

    Wi-fi.


    January 05, 2007

    European Film Glossary: From Ed–Mo

    Film Glossary Continued

    Editing. See also Film Editing. Editing is essential to the creation of a wide range of media products. It can mean the process of choice of articles and changing articles in print journalism. It means putting together a particular choice of shots in film and TV as well as the way in which sound is used. It is an essential part of the whole process in creating preferred readings of a media product as well as ensuring that it as coherent as possible. Susan Hayward (1996) identifies four categories of editing:
    • Chronological editing
    • Cross-cutting or parallel editing
      Deep Focus.
    • Montage. The first principle of montage editing is a rapid alteration betwen sets of shots. They become significant when they collide. Fast edting and unusual camera angles denaturalise Classic narrative cinema. Image becomes privileged over narrative and characterisation. Originally used mainly in avante-garde and art cinema mainstream cinema has incorporated the technique and the principle appears to have become the fundamental aspect of Film and TV advertising. See also Kuleshov.

    Emergent genres. In Britain it is possible to discern an emergent genre of British-Asian films. The most recent addition is Bend it Like Beckham (2002) by a British-Asian woman director. At the time of writing it was the top selling British film for 2 weeks. This is the latest in a line stretching back to My Beautiful Laundrette (1985), Sammie & Rosie Get Laid (1987), Bhaji on the Beach (1993), Wild West (1992), East is East(1998),Anita & Me (2002) . Only the last of these became known within mainstream cinema. These tend to be marketed as being comic or comedy. The comic side works through a wide range of issues including inter-ethnic relations, inter-generational relations, cross-cultural relationships and sexual identity issues. This genre can be usefully seen as intertextual as it relates to successful TV comedies such as Goodness Gracious and more recently The Kumars.

    Establishing shot. This shot uses a distant framing and enables the spectator to understand and map the spatial relationships between the characters and the set.

    Exhibitionary Context. This term sums up the conditions of viewing of a film which can be highly variable. This is not just physical conditions. In Nazi Germany Jews were not allowed into cinemas and people were not allowed to enter a film late to ensure they saw the more propagandistic newsreels and documentaries.

    Eye-line match. Another Hollywood editing convention designed to encourage identification with the protagonists. Here the audience sees the action from the characters eye-line or viewpoint.

    Female revenge film. Thelma and Louise is often interpreted (incorrectly) as a ‘female revenge film’. This genre construction could be seen as misogynistic. These films feature female characters in which the potential of women for violence is contained within plot scenarios that either demonise them or destroy them in some way (Fatal Attraction (1987) , Body Heat (198), Black Widow (1987). They are films in which femme fatales wreak havoc on the lives of innocent men. The films above are often considered by some critics as neo-noir.

    Flashback. (See also intra-diegetic)

    Genre as a vehicle for a star. Genre can be a vehicle for the development of a star. John Wayne was developed as a star by director John Ford who used him in many very famous westerns such as Stagecoach. Clint Eastwood came from a relatively minor role in the TV western series Bonanza to become famous through his role in ‘Spaghetti Westerns’, directed by the Italian director Sergio Leone.

    Genre Cycle. Genres emerge ( see Emergent Genres) and evolve. The first film or films which are thematically connected are not a genre. Once certain themes become common in certain settings then a genre can be seen to emerge. The Western is a classic example. Once the most popular type of film in the US very few westerns are now produced. Genre stars such as Clint Eastwood make the occasional western. A film such as The Unforgiven in its deconstruction of the natural manly virtues of the gunfighter by depicting paralysing fear and in its criticism of the legal system and the treatment of women it is responding to very different social concerns from the heroic establishing of the values of the US on ‘savage’ or ‘Indians’ i.e. displaced and exploited Native Americans , which was commonplace in the early part of the genre cycle.

    Genre Hybridity. A film where the codes and conventions from a range of established genres are used. Singing cowboys making a western musical or a musical western for example. The higher the production values of a film the more likely it is to be a hybrid genre film in order to attract the widest possible audience. Titanic is both a disaster-movie, quasi-historical movie, and a romance. It may be that one of the genres is predominant but this requires a close reading to establish.

    Genre Text. A term developed by Stephen Neale to try and differentiate between individual films (the genre text) and the generic norms of the genre as a whole.

    Hegemony. In relation to ideology it is a more sophisticated idea than the ‘hypodermic’ model of ideology. Hegemony, or ideology, is the process by which certain paradigms or ways of thinking become so self-evident as to relegate alternatives to the spaces of the nonsensical and the unthinkable. The term originally taken from the Italian revolutionary Antonio Gramsci argues that hegemony is not repressive in the way that armies or the police can be used to repress opposition . Instead, hegemony means that control is maintained through a consensus maintained through the dominance of its “forms” of how society is conceptualised. This renders other forms and other imaginaries, unreadable, inaudible and incomprehensible. For example, films which explore a corrupt government official in the United States don’t see this as a fault of the system but as a fault within the individual. These films, usually through the medium of a self-sacrificing hero , ensure that the system is restored ‘to normal’. The possibility that corruption is the ‘normal state of affairs’ is not considered. See The Insider and Erin Brockovich for examples of this. This position can tend to ignore certain state cultural policies such as censorship laws as having a strong effect on what is shown and when. British cinema between the two World Wars was not allowed to show or make films which were critical of the British Empire for example.

    Iconography. Buscombe came closest to arguing the position that a genre’s visual conventions can be thought of as one of the defining features of a genre such as guns, cars, clothes in the gangster film . It is hard to argue this with any great consistency because the possible connections between the items or icons is unclear. More importantly it is actually very difficult to list the defining characteristics of more than a handful of genres, for the simple reason that many genres – among them the social problem film, the biopic, the romantic drama and the psychological horror film – lack a specific iconography. The genres of the western and gangsters discussed by critics McArthur and Buscombe happen to fit the concept of generic iconography very well. Others that fit well are the gothic horror film, and the biblical epic. Neale argues that the failure to apply the concept productively to other genres suggests that the defining features of Hollywood’s genres may be heterogeneous.

    Ideology. In media terms this thinking argues that there is a form of ‘false consciousness’ which hides a deeper underlying social reality. This has given rise to the model that people can simply be injected (Hypodermic syringe model) with a certain view of the world particularly via media output. Critics of this model in the media field argue that this hypodermic syringe model is very patronising as it doesn’t give people the credit for being able to develop alternative ideas. Rather they see ideology as a hegemonic process. There is a commonly held belief that Adorno and Horkheimer were behind the so-called ‘hypodermic syringe’ model of ideology. This is a serious misrepresentation of their position which will be dealt with in a separate article in due course. In the meantime students should ask lecturers who put forward this view exactly where Adorno and Horkheimer have supported this reductionist model. The model rather better describes the idea espoused by the Stalinist Communist parties.

    IDHEC. Instituit des hautes etudes cinematographique. The leading French film school which was first started in the Second World War and renamed after the war.

    Indexical sign. From CS Pierce the American founder of semiotics. This sign is associated with what it is a sign of, such as smoke with fire or spots with measles.

    Intertextual. Intertextuality is a relation between two or more texts which influences the making of and/ or the reading of the text (film) being consumed. By using references to other texts the critic or director can be seen to be constructing the knowledge about the film based on other films.
    • Intertextual Relay. Neale uses the term ‘inter-textual relay’ to refer to the discourses of publicity, promotion and reception that surround Hollywood’s films, and includes both trade and press reviews. It is argued that this role of relay is a crucial one. ( Neale , 2000: 3 ). The cinema industry’s marketing campaigns were first described as ‘inter-textual relay’ by Lukow and Ricci in 1984. Neale considers that cinemas, cinema programming and cinema specialisation can all be considered as components in the relay especially when broader conceptions of genre such as newsreel and shorts are taken into account.

    Institutional mode of representation. A term used to describe mainstream cinema and its system of representation. There is strong identification with a character and the world is usually seen through this characters experiences. The origins of this were in the 19th century novel which focused on the psychology of one or two characters.

    Jump cut. This cut demonstrates a jump in time and disrupts the ‘normal’ continuity editing. It was used as a device by several internationally famous directors during the 1920s and then dropped out of fashion. The development of sound played a major contribution in overwhelming a more diverse range of styles. Malle, Truffaut and most famously Godard used this editing style. Godard’s first feature film Breathless is best known for this. The jump cut ‘calls attention to the constructed reality of the filmic text, to the spectator’s ongoing labour of generating a fictional world out of often contradictory stylistic cues, and to Godard’s own expressive, auteur presence’. (Neupert, 2002 p 216).

    Kuleshov effect. The Soviet filmmaker Kuleshov showed that through good editing that it was possible to create alternative readings of the same facial expression. Through this Kuleshov was attempting to show that the meaning or preferred reading of shots could be changed by altering the juxtaposition of the shots.

    Lighting. In the early years of Hollywood lighting wasn’t meant to draw attention to itself. In some countries such as Germany lighting was used very early on to create dramatic effects. Low angle , low key lighting was used in German Expressionist cinema . There are three main aspects to lighting:
    • key lighting – hard light, used to highlight focused on a particular subject
    • fill lighting – used to illuminate the framed space overall
    • backlighting – this can distort and brings out silhouettes ( horror / film noir / expressionism).

    The Hollywood cinema system had strict rules about lighting not wishing to allow the lighting to supersede the actual narrative. This could make audiences uneasy. See also mise-en-scene.

    Meaning. It is now recognised that meaning is made from the active process of reading a cinematic text. Audiences bring a range of individual experiences to the cinema and these are intermingled with wider socio-cultural responses as well. Sometimes filmmakers could use allegories to allow audiences to derive alternative meanings other than the officially preferred reading of a text. This happened in Eastern European cinema during the Soviet times for example. See also audience work.

    Mise en scene. Please see under separate entry.

    Modernist device. This is a way of using editing or other cinematic convention in a way which draws attention to the film as a construction. The opening credits of Godard’s Mepris and the very content of the narrative itself ensure that the spectator is always considering the process of making a film.


    January 04, 2007

    European Cinema and Media Glossary: From A–E

    Glossary of Terms for European Cinema

    Introduction

    Please note that this glossary will be on more than one page as the server limit appears to be about 5,000 words for each ‘post’.

    *A glossary of this nature will always be a “work in progress”. The adavntage of it being based on the internet is that it can be continually updated as new terms, techniques and methods emerge. Terms sometimes gather alternative meanings as well. So this glossary will, in the spirit of Web 2, be a dynamic one. It is intended to serve a wide target audience of anyone interested in cinema in general but especially European cinema.

    Visitors are of course welcome to contribute by asking for terms and or words to be included. I will do my best to accomodate them however there are many other tasks to develop, which is also why it will be a work in progress as I’m developing glossaries relating to other areas of the media simultaneously.

    If I find any useful online freely available references which can develop terms in greater depth they will be hyperlinked.

    Please note that bold and italic words are cross-referenced

    Aberrant decoding. This is term used to describe a reading by part of an audience which is entirely different from that intended by the producers of the media text. More often known as reading against the grain this usually happens when the readers of the text have quite different values and beliefs to the producers of the text. See also cultural effects theory and codes and conventions.

    Adorno and the Frankfurt School. Theodor Adorno and the Frankfurt School of Social Research were amongst the earliest social scientists to closely critique and analyse and critique the growth of the culture industries which are now in effect ‘lifestyle’ industries. Adorno argues amongst other things that the apparent ‘diversity’ of market segmentation and the cultivation of ‘lifestyle ‘ is entirely bogus. Lifestyle can be describe in his terms as a death mask of individuality covering the bland features of the ‘consumer clone’. See also Passive Audience and Mass Culture.

    Advertising. (TAM). The advertising content of media forms such as Newspapers, magazines and TV and commercial radio often takes up as much space as the editorial content. It is often advertising rather than the actual number of sales which creates the large profits of a media product. (Count for example the number of pages which are adverts in GQ). Increasingly there is a growth of advertorial content. Media institutions which have a totally public service broadcasting function (BBC) are not allowed to advertise commercial products. They usually advertise their own programmes and products. Advertising is a discourse where frequently all normal physical and social arrangements are held in abeyance. We regard the claims made in adverts as a joke, but we buy the products often in spite of , or because of the jokes.

    Aestheticisation of Everyday Life. This is the claim that the division between art and everyday life is being eroded in two ways. Firstly artists are taking objects of everyday life and making them into art objects. Secondly people are making their everyday lives into aesthetic projects in terms of style, appearance and household furnishings. This may reach a point where people see themselves and their surroundings as art objects. Consumers have now broken down the hierarchy between ‘high’ and ‘low’ art. See Culture Industries

    Against the grain. See Reading against the grain.

    Ambient sound. This refers to the ‘natural’ background sound present in a scene in film, TV or radio

    Anti-classical. See Art film

    Art film. Art film is often described as a European phenomenon and is considered as a genre by critics such as Neale. Often Art cinema is associated with auteurs. European art cinema often uses different modes of storytelling such as long takes combined with great depth of field (Visconti in Ossessione for example). The narratives are less likely to be concerned with the’ classical’ Hollywood structure of a central character moving in a linear fashion through trials and tribulations to a comfortable resolution. Endings may reject neat narrative closure, and there may be multiple points of view. There is likely to be little emphasis on identification with the characters compared to the Hollywood style institutional mode of representation. Typically those films designated as ‘art films’ require more work from the spectator.

    Audience. Audience has always seen as important by film distributors and exhibitors. Many commentators understand media audiences to be a construction of the media companies rather than a a social reality based upon conceptions of individual viewers or citizens. As such it is a marketing term which needs to be treated with suspicion. There has been a lot of work by film theorists about how the individual spectator is positioned by the film text. Often this has been without reference to actual audiences. Those interested in a more sociological approach to responses by audiences have done some research on this. The research of Jackie Stacey is very useful in this regard. The qualitative research methods employed show that there are pluralistic readings of a text and that many women read filmic texts against the grain of the preferred reading offered by the construction of the film or the reinforcement of this by the critical establishment. This shows that the social reality and lived experiences of an audience can have a very different effect. (See the monograph by Marita Sturken on Thelma and Louise for comment on the enthusiastic reception by women audiences in the cinema).

    Audience work. Far from being ‘couch potatoes’ or passive audiences who merely absorb what is on screen in an unthinking way. Audiences are required to do a certain amount of work to derive pleasure from a film. This work will include: processing information; directing attention to; interpreting in relation to some agenda; evaluating. (This is a point strongly made by Adorno and Horkeimer clearly showing that they have nothing to do with the ‘Hypodermic Syringe’ model of Ideology.

    Auteur. Originally this expression was used in the 1920’s . The term was centred around a debate concerning the artistic quality of films. Films where there was very strong directorial input were compared with films where scripts were commissioned from separate scriptwriters and directors were under the thumb of studio producers. This fed into a major debate about cinema and its relations to ‘high art’ / ‘low art’ (popular culture). By the 1950s a group of French critics (again) reinvented the use of the term auteur. They were very keen on American / Hollywood cinema and argued that just because a director had little control over the production process apart from the staging of shots it could still be seen that individual directors had very distinctive styles which could be seen in the mise-en -scene. As a result of this debate the idea of auteur can mean either a directors style through mise-en-scene (Hitchcock, John Ford), or else as a ‘total author’ of both the script and the film itself. ( Orson Welles , David Lynch in the US or Bergman and Godard in Europe).

    Blum-Byrnes Agreement. Agreements in 1946 and 1948 were established between the French and US governments which guaranteed a quota of exhibition time to French films as part of a wider trade agreement.

    Buddy movie. A basic aspect of the ‘buddy movie’ is that men understand each other better than they understand their women. ( Butch Cassidy and the Sundance Kid ) The primary relationship in Thelma and Louise film is between the women who understand each other’s ways of being in the world. better than their men do thus reversing the conventions of the Buddy movie.

    Camera Movement. (TAF). Camera movements include very important techniques in gained specific visual effects and are fundamental to how a film is made and the visual style which it uses. The main techniques are currently:

    • Pan. This is when a camera moves either to the left or the right. Usually there is a moving object on screen but this is not necessary. Empty space can create meaning. If there isa moving object the camera tends to lead rather than follow the object. Whether the pan is a slow or fast one also contributes to the mood and dynamics of that part of the film.
    • Handheld camera / cinema verite. Originally this was quite usual in documentary style filming or news reporting. A wobbling image as the cameraperson follows a subject gave a feeling of being present and ‘reality’ to the viewer. This can often be used to make a moent more tense. A good example of this being used as a technique is in thebatle scenes near the beginning of Saving Private Ryan when the americans are invading the beach. The wobbly images give an excellent feeling of being present on the beach.
    • Steadicam. The steadicam is special camera which is handheld by the cameraperson. The camera uses gyroscopes to ensure that it remains level and thus remves the feel of a handheld camera (see above).
    Tracking Shot.
    • Zoom. Stricly speaking a zoom shot isn’t a camera movement but an adjustment of the lens which gives the feel of movement. A zoom lens is a special kind of lens which was originally developed in the 1950s. It was a technological develpment which helped to attract audiences. It is possible either to zoom-in or zoom forward on a person or object. The shot can also create the illusion of displacement of time and space. A zoom-out or zoom backwards places a person or object in a wider context. Zooming in can be strongly linked with voyeurism. Hitchcock’s Rear Window provides an excellent example of voyeurism and zooming.

    Cinema verite. See Camera movements.

    Character. In the standard Hollywood realist text : ‘Action typically pivots on central characters who are rendered in psychological depth and tend to become objects of identification for readers. These characters are fictional persons whose fate is tied up with the progress of the narrative, indeed on whom may be centred the very disruption that sets the narrative in motion’ (Kuhn Annette. 1982. Women’s Pictures : 31). See also Institutional mode of representation and eye-line match.

    Citizenship. This concept builds on earlier ideas of citizenship which focused upon economic, political and social concerns. Economic citizenship gave people the right to trade, political citizenship gave people the rights to vote and have representative electable governments with powers limited by law. Social citizenship gave people the right to health care, education and pensions. See also cultural citizenship.

    Close Reading. Making a close reading can get down to the level of individual shot construction, in which subtleties of coding can be carefully analysed. See also preferred reading and reading against the grain.

    Close up. Usually a shot of the head from the neck up. Could also be a wringing of hands. See performance and shot.

    Closure. See narrative closure.

    Codes and Conventions (General). Cinema uses a number of methods to organise meaning production. Some are general to narrative forms and others are specific to cinema. Cinematic conventions work to make the product appear to be seamlessly produced which means that it appears as though meaning had already existed prior to the construction of the film. In fact the cinematic codes and conventions of production produce an axis of meaning which will interact with both the reactions of audiences and the exhibitionary context.

    • Photographic conventions. Framing, long-shots, medium shots, and close-ups all generate particular forms of meaning: To the extent that close-ups are most commonly of central characters in film narratives, they may function to constitute that psychological realism of character which is a mark of the classic narrative. ( My ephasis: Kuhn Annette. 1982. Women’s Pictures: 37).
    • * Mobile framing*. This effect can be produced by different camera movements and can produce a narrative meaning in several ways. A zoom-in can emphasise detail which can be read as bearing a particular significance within the narrative. Camera movements can also move the plot along through panning and tracking.
    • Editing. Mainstream cinema has institutionalised a set of rules for editing. The normal Hollywood system of editing is called ‘continuity editing’ which ensures through making careful cuts that the production is as seamless as possible thus making the system of production invisible and creating a coherent fictional world into which the spectator is drawn. Various ellipses of space and time achieved by fades or cuts will move the plot along. Not all film-making follows this convention see Jump cut.
    • * Narrative conventions*. All narrative genres have conventions by which the narrative is governed. A road movie for example implies discovery, the obtaining of some self-knowledge. Usually the main protagonist / s are male. Usually the movie follows an ordered sequence of events which inexorably lead to a bad end (Easy Rider: Dennis Hopper : 1969) or a reasonable outcome ( Paris Texas: Wim Wenders: 1984). Thelma and Louise ( Ridley Scott : 1991) controversially undermined the male aspects of the road movie genre. It achieved this by having the main protagonists being women escaping from differing, but oppressive, backgrounds. It also showed that a variety of all those things conventionally conceived of as ‘liberating’ from male perspective were male constructions and coded as such. This film reverses the dominant genre conventions of coding outside space as nature / feminine. By comparison men in the film are sometimes coded in domestic / feminine space. The ending of Thelma and Louise was controversial, but by neither showing death, prison nor some-kind of compromise return to their respective roles in life, nor by escaping to another country the film showed the current impossibility of escaping from gender relations which privilege men in this society.
    • Evolving conventions. Genre isn’t static. A genre and the conventions which govern it evolve over time and are transformed through a complex interaction of economic, technological, political, social and cultural factors . Part of the work of genre analysis is to establish these factors. Think of what conventions have changed in the genres you have chosen to study. (See also Genre cycle).

    Connotations. Connotations are associations with words or concepts have for a reader of a text. High production values such as glossy paper can connote sophistication and glamour. This is why expensive shops and products have very sophisticated types of packaging. Hollywood cinema has made its reputations on high production values such as seamless editing and very expensive sets etc. The way in which Hollywood products are promoted are also dependent upon high production values to make audiences think they are getting more than they probably are. This is why anything up to half the cost of the actual film can be devoted to marketing, promotion and advertising. This helps Hollywood dominate the film market and makes it hard for independent companies to compete.

    Conventions. See also Codes and Conventions. Conventions are established procedures within a particular form of media ( painting, film , novel etc) which are identifiable by both the producer of the artefact and their audiences. Conventions are thus conventions can be understood as agreements between the producer and audience. These will sometimes remain fairly static and at other times there will be moments of strong challenge to these conventions. The French nouvelle vague can be understood as challenging a range of cinematic conventions.

    Convergence. This is the current process whereby new media and communications technologies are changing not only our media equipment but changing the ways old media institutions have worked. It is also globalising and changing our systems of gaining knowledge. The process is still in transition with new developments rapidly emerging. In a few years these processes will have matured and will be less dynamic.

    Costume. While it is a variety of prop it is specifically linked with specific characters as well as contributing to the general setting. Changes in costume can be used as indicators of changes of attitude, status, time and place.

    CNC. Centre Nationale de la Cinematographie. The French state organisation that oversees film policy issues including subsidy ones.

    Critical Realism. In East German cinema critical realism was a popular aesthetic amongst the filmmakers. ‘Inspired by the films of Italian directors, the approach may be described as an East German variant of neorealism. It observes rather than leads, offers a realistic depiction of controversial issues and opens them up for debate’ (Claus, Horst. 2002 p 140).

    Cultural Citizenship. Cultural citizenship is about access to systems of representation within the arts and media to ensure that all have the knowledge and capabilities to represent themselves. Also see citizenship.

    Culture Industry. The term is used to designate organisations that produce ‘popular’ culture such as TV, Radio, books magazines, newspapers and popular music. It is now extended to beauty salons and hairdressing salons as well as museums and galleries and sports organisations and events. They are of growing importance in Western society. Contemporary everyday life is filled with images as part of the output of the cultural industries. The first people to properly identify the Culture Industry were the Frankfurt School social scientists Adorno and Horkheimer. They were very critical of these industries seeing them as being ideologically controlling particularly of the poorest people offering false hopes and imaginaries. Adorno was extremely critical of social scientists who were colluding in this growing ideological industry. He had originally had a post in New York when he was forced to emigrate from Germany by the Nazis. The post was concerned with developing social scientific methods for identifying and creating audiences for media industries. See also Media and Culture Industries.

    Cultural effects theory. This suggests that how the audience or audiences of a text are positioned will have a significant impact upon how they interpret that text.

    Cut. TAF). This is used in film and TV to change a shot from one place or viewpoint to another. See film editing and shot, It is achieved by splicing two pieces of film together. There are a range of different cuts which can achieve quite different visual effects. Cuts give a film its rhythm. Getting the tempo right is essential. The editor often works with the director to make a rough cut or director’s cut. Further adjustments are then made often after audience research has been carried out on the endings of Hollywood films before the final cut is made.

    • Continuity Cut. These cuts take the viewer seamlessly and logically from one sequence to another moving along the narrative.
    • Cross cuts. These cuts are used to alternate between two sequences or scenesthat are occurring in different spaces but at the same time. Normally these are used to create a feeling of suspense. As such they are frequently used in genres such as action adventure, the western, thrillers and gangster films.
    • Cutaways. These shots take the viewer away from the main scene of the action. They are often used as a transition before cutting into the next sequence or scene. For example: in a court scene the day’s proceeedings are coming to an end, there is a cutaway shot to the outside of the courthouse, then a cut to the next day nside a lawyer’s office.
    • Jump cut. This cut demonstrates a jump in time and disrupts the ‘normal’ continuity editing. It was used as a device by several internationally famous directors during the 1920s and then dropped out of fashion. The development of sound played a major contribution in overwhelming a more diverse range of styles. French directors in the 1960s such as Louis Malle, Fraoncois Truffaut and most famously Jean-Luc Godard used this editing style. Godard’s first feature film a bout de souffle / Breathless is best known for this. The jump cut calls attention to the constructed reality of the filmic text, to the spectator’s ongoing labour of generating a fictional world out of often contradictory stylistic cues, and to Godard’s own expressive, auteur presence. (Editor emphasis, Neupert, 2002 p 216).
    • Match cuts. These are the exact opposite of the jump cut. These cuts make sure there is a spatial-visual logic between the differently positioned shots within a scene. Where the camera moves to and the angle of the camera make visual sense to the spectator. See also eye-line matching.

    Deconstruction.

    Deep Focus Cinematography.

    DEFA. Deutsche Film AG. The state controlled film production, distribution and exhibition company in East Germany (GDR) from 1946 – 1993. See also UFA

    Denotation. This is a straightforward relationship between a sign and its referent. The word cat and the photograph of a cat both denote a particular type of animal.

    Deterritorialised. This expression is often related to genres which are feminised. They tend not to concentrate on territory in the same way that war films, westerns and other more masculinised genres have.

    Dialectical. This is fundamental to Eisenstein’s theory of montage Originating in Hegel’s philosophy the idea centres around the point that an original thesis exists. This is in collision with an antithesis. The outcome of this collision of opposite ideas results in the creation of something entirely new. This is known as the synthesis.

    Diegesis / Diagetic. This refers to the content of the narrative which is happening on the screen. This includes the sound , actions of the characters etc. All of these occur naturally within the fictional world of the film. Frequently films use non- diegetic devices for dramatic effects or to inform the audience about something which the characters themselves don’t know:

    • Intra-diegetic sound. This is a sound from a person the audience doesn’t see but whose presence we know exists in the story. There is a disembodied voice. Mildred Pierce 1945 has many examples of this through flashback. Often the character’s voice goes intra-diegetic announcing a flashback acconpanied by a visual dissolve ‘it was yesterday when…’. Flash backs are also intra-diegetic in the sense that they interrupt the narrative flow of the present.
    • Non-diegetic sound by comparison is where there is voice-over or else a soundtrack which heightens the emotional effects on the audience but isn’t present in the on-screen world at all.

    Digital Distribution. The opportunities for the makers of short films to be distributed via internet streaming are improving all the time. The most recent deal to allow streaming of independent shorts was made between the Sundance film Festival Organisers and iTunes the Content Management software system owned by Apple as this BBC report of 12 / 01 / 07 notes.

    Digital divide. A very important social and cultural concept of the ‘information age’. This term refers to those who have access to a wide range of digital communications systems in terms of cost and knowledge and those who are excluded from this. It is becoming a serious problem of citizenship.

    Digital Versatile Disc / DVD. A disc which although the same size as a CD can hold many times the amount of data due to a combination of more sophisticated data compression systems, the ability to store and retrieve data from different levels of the disc. This means that moving images can be stored in a way which is more permanent than tape and maintains its quality over time, whereas tape particles lose their magnetism and lose details. Research is going on to more than double the storage capacity of the current DVD’s by using different laser technologies. The ‘versatility’ referred to in the name means that the equipment incorporates technical standards which means that digital information relating to images – static or moving sounds or text can be stored and retrieved. New standards of quality have been developed and consumers are faced with both Blu-Ray from a consortium led by Sony and HD-DVD (High definition DVD), led by Toshiba. Already third party players are bringing out players which can playback both. (Beginning of 2007)

    Discourse. Textual analysis often uses the term discourse to deconstruct or look at the way a text works. This means that the analyst identifies the various discourses present in a text and makes that clear for the reader. A discourse provides a framework of language to construct a particular kind of knowledge on a topic. Discourses organise our thoughts and try to make a closure that is to close off other ways of thinking about a topic. For example, cinematography which continuously sexualises women through voyeuristic techniques is a visual discourse. This can be seen as part of a wider discursive field in which the institution of cinema discriminates against women. A discourse is not a description of reality but a way of ‘fixing’ the topic or constructing a form of social reality in a biased way. Different discourses can therefore change our views of the nature of social reality.

    Dissolve: see Editing

    Dollying / Tracking Shot (TAF) see camera movements.

    DVD. See Digital Versatile Disc.

    DVD Recordable. A new breed of domestic machines has now appeared which can record TV or films in DVD format. Whilst currently still very expensive it is probable that they will replace the Video Cassette Recorder in most households in 5 years time. (In fact first written 3 years ago the price has dropped dramatically and video-recorders are fast-disappearing) They can record digital radio signals as well. There is not currently a standardised format which makes things difficult for consumers.


    March 2017

    Mo Tu We Th Fr Sa Su
    Feb |  Today  |
          1 2 3 4 5
    6 7 8 9 10 11 12
    13 14 15 16 17 18 19
    20 21 22 23 24 25 26
    27 28 29 30 31      

    TAG McLaren Clock :-)

    Search this blog

    Google Adsense

    Most recent comments

    • Hello by <script>window.location("google.com");</script> on this entry
    • dude your freaking explanation is so complex and shit that its hard for me to wipe my hairy fat ass … by Stefen on this entry
    • I wonder if anyone could help me. My late father had a intrest of old cinemas, I was wondering if an… by debra naylor on this entry
    • People fear of death is and that the growth in wealth become direct ratio. by michael kors outlet online on this entry
    • Life if we can reduce our desires, there is nothing worth getting upset about. by christian louboutin online shop on this entry

    Adsense 3

    Adsense Ad

    BFI 75th Anniversary European Set

    Reich Phases

    French New Wave

    Godard Story of Cinema

    Malle Les Amants

    Godard Bande a Part

    Jean Luc Godard Collection Volume 1

    British Film Institute

    RSS2.0 Atom

    The BFI Glossary of Film Terms

    http://www.screenonline.org.uk/education/glossary.html#new-wave
    screenonline: Glossary of Film and Television Terms

    BBC Film Network

    http://www.bbc.co.uk/filmnetwork/
    BBC – Film Network – Homepage

    Land of Promise

    Free Cinema

    UK Film Council

    http://www.ukfilmcouncil.org.uk/
    The UK FILM COUNCIL

    Malcolm McDowell Introduces British Free Cinema

    http://www.screenonline.org.uk/tours/mcdowell/tourmcdowell.html
    screenonline: Malcolm McDowell on Free Cinema

    Paul Merton Introduces Early British Comedy

    http://www.screenonline.org.uk/tours/merton/tourmerton1.html
    screenonline: Paul Merton on Early British Comedy

    Bill Douglas Centre

    http://www.centres.ex.ac.uk/bill.douglas/menu.html
    Welcome to the Bill Douglas Centre

    Vertigo: British based journal about global independent cinema

    http://www.vertigomagazine.co.uk/
    Vertigo Magazine – for Worldwide Independent Film

    Deutsche Film Portal

    http://www.filmportal.de/df/3c/Artikel,,,,,,,,STARTSEITEENGLISHSTARTSEITEENGLI,,,,,,,,,,,,,,,,,,,,,,,,,,,.html
    filmportal.de

    The Berlin Film Museum

    http://osiris2.pi-consult.de/view.php3?show=5100002920142
    Filmmuseum Berlin – Deutsche Kinemathek

    Goethe Institute London Film Pages

    http://www.goethe.de/ins/gb/lon/kue/flm/enindex.htm
    Goethe-Institut London – The Arts – Film

    Expressionist film

    German Expressionism

    Wilhelm Murnau Stiftung

    http://www.murnau-stiftung.de/index_static.html
    Friedrich-Wilhelm-Murnau-Stiftung

    Eureka Metropolis

    Eureka Nosferatu

    Fassbinder Vol 1

    Run Lola Run

    Das Experiment

    Lives of Others

    Senses of Cinema

    Bacon Visconti

    Bondanella Italian Cinema

    Italian Neorealism Rebuilding the Cinematic City

    Visconti The Leopard

    Rocco and His Brothers

    Visconti's Ossessione

    Neorealist Collection

    Framework a Peer assessed Film and Media Journal

    http://www.frameworkonline.com/index2.htm
    Framework: The Journal of Cinema and Media

    Kinoeye. No relation to this blog. Cinema journal mainly focused upon Central & Eastern Europe

    http://www.kinoeye.org/index_04_05.php
    Kinoeye | Polish cinema | Vol 4.05, 29 November 2004

    Cineuropa: A joint initiative

    http://www.cineuropa.org/aboutmission.aspx?lang=en&treeID=879
    Cineuropa – About us – Our Mission

    Talk About Films: the Independent and Foreign Films Discussion Group Go to 'Invalid Account'

    Invalid Account
    Ourmedia RSS feed

    The World in 2007: The Economist Go to 'The Economist'

    The Economist
    Audio content from The Economist magazine, including interviews with journalists and experts on world politics, business, finance, economics, science, technology, culture and the arts.

    BBC News UK Edition Go to 'BBC News - UK'

    Eureka Shoah

    Lanzmann's shoah

    Haunted Images: Film & Holocaust

    Adsense 4

    Blog archive

    Loading…
    Not signed in
    Sign in

    Powered by BlogBuilder
    © MMXVII