First of all, we'll start a new clean blog for this year but I'll use this one for now.
Everything you really need to know is to be read in this great ebook:
http://newmusicstrategies.com/wp-content/uploads/2008/06/nms.pdf
HIGHLY RECOMMENDED READ!!!
Showing posts with label online age. Show all posts
Showing posts with label online age. Show all posts
Wednesday, 4 January 2012
Monday, 2 May 2011
Online Age AND representation of women! Great Media mag article on Goody and Boyle
Goody and Boyle: a tale of two (real) women
During 2009, tabloid press coverage has been dominated by the stories of two contrasting reality show contestants and the involvement of both old and new media in their rise and fall. Steph Hendry explores the central and ambivalent role of audiences in the lives of Jade Goody and Susan Boyle.
It’s been an odd year in the world of ‘reality’ television. Big Brother’s 2009 broadcast was less than enthusiastically received with declining viewing figures suggesting the country’s love-affair with BB and its tabloid spin-offs is at an end. This was confirmed by C4’s recent announcement that they will no longer broadcast the show after 2010. On the other hand, reality TV’s dominance in mainstream culture seems to have hit maximum capacity several times this year. Two events dominated the world of reality TV in the first half of 2009: the death of Jade Goody and the rise of Susan Boyle. Coming within a month of each other in March and April, the public and media responses to these two stories can be seen to represent the changing nature of modern media as we enter the second decade of the century. There is a decrease in ‘old media’s’ dominance in leading the way celebrity events are mediated and the phenomenon of Jade Goody was largely driven by ‘old media’ such as television broadcasting, tabloid newspapers and magazines. The Susan Boyle story symbolises the start of ‘new media’s’ power in disseminating information and allowing audiences to be part of the construction of a story; at the same time it highlights the rise in influence of new technologies such as YouTube and Twitter.
Jade Goody
The story of Jade Goody is a tragic one. The death of any 27-year-old mother of two is sad, but in itself not particularly newsworthy; however this event was the resolution of the tumultuous narrative the media and Jade herself had presented of Jade’s life. As a Big Brother contestant in 2002, Jade was vilified by the tabloid press and despised for being ‘fat’, ‘ugly’ and ‘thick’. Despite not winning Big Brother, she went on to be the most successful ex-housemate in terms of her public profile and earnings. She became a regular fixture in magazines such as heat, OK! and Now! and was the subject of fly-on-the-wall documentaries which consolidated her fame. At the height of this time of positive representations she followed the lead of other celebrity ‘brands’ and a perfume was released under her name. Her popularity was hit when she was accused of racist and bullying behaviour whilst taking part in 2007’s Celebrity Big Brother and, until her illness, this scandal damaged her earning potential and her media presence dwindled. Jade was in the process of rebuilding her career when, on India’s version of Big Brother (Big Boss), she was given the news that she had cervical cancer. From this time on, her media saleability increased as her illness, her treatments and ultimately her death were all reported in a range of media forms. Towards the end of her life she was being filmed by Living TV and the image of her physical deterioration was used in tabloid newspapers and in gossip magazines along with a range of stories following her and her family’s responses to the illness.
Jade’s story was that of an underdog making good. She was an ordinary girl, who escaped from the mundanity of everyday life and found herself in the privileged world of celebrity. Not possessing a saleable talent, Jade’s unique selling point was her ordinariness and the fact that she represented a belief that ordinary people, with limited talent, little education and from poor and troubled backgrounds could experience a life of wealth and fame. Her illness and death became public property and it was recognised that this trying time in her life could financially benefit her, her family and a range of media outlets. She epitomised a relatively new media phenomenon, that of the celebrity who lives their life on camera – she has subsequently been replaced by ‘Peter and Katie’ (and now ‘Peter’ and ‘Katie’ separately, of course) and Kerry Katona, who have film crews documenting the day-to-day details of their lives as well as the more glamorous activities they undertake. All of these celebrities turn the events of everyday life – children’s illnesses, marital disputes, bad moods and tantrums – into dramatic conflicts for their televised or reported narratives. Peter and Katie’s recent split and Kerry’s bipolar disorder, cocaine habit and assorted problems have become threads in the ‘soap operas’ provided for their audiences. At times it seems as if these lives are being presented to us as a way to make us feel good about our own lives as the audience is shown the downsides of celebrity life and we are often positioned to sit in judgement as celebrity marriages fray, careers take downturns and we see the human weaknesses behind the ‘public face’. Of course what we are shown is not their private life at all; the public watch lives that are carefully edited and constructed into stories. The audience gratifications received whilst watching such programmes or following tabloid reporting are complex: the aspirational desire for the lifestyles we see, combined with the pleasure we take in seeing these figures suffering, has been described as the modern equivalent of the medieval practice of public punishment. However, Jade’s illness took these ‘pleasures’ to another level as her ‘punishment’ didn’t fit her ‘crimes’: she died the way she lived, with the public watching.
Whilst the web is part of the communication of these stories, celebrity exposés and the ongoing reporting of these reality stars’ lives suits the tabloid format well. Tabloid newspapers like The Sun, The Star and The Mirror are constantly searching for front page stories/images that will persuade readers to buy their publications. One of the conventions of the tabloid is that they tend to use emotive stories to engage their audience – the emotion itself isn’t all that important: shock, outrage, anger, pity, sadness or joy all work well. The reporting of Jade’s illness saw several narrative devices being employed as she was transformed from a figure of hatred and mockery into a tragic hero the audience could identify with due to her ‘ordinariness’, and admire due to her courage and strength in adversity. Her whole family were recast into roles that supported this view (both her husband, Jack Tweedy, and her mother, Jackiey Budden, had received almost exclusively negative press before news of Jade’s illness broke) and the emotional story of Jade’s illness and subsequent death were used to sell newspapers. Tabloid/gossip magazines also contributed to the dominance of this story with their weekly or monthly front covers being devoted to the ‘next instalment’ of the story of her illness. OK! even went as far as to print a special memorial edition before Goody died (including the claim that the magazine contained her ‘last words’). Although the magazine was dated March 24th 2009, it was, in fact, on sale from the 17th March – five days before Jade’s death on the 22nd. The magazine claimed that this was following the family’s wishes but, given the practicalities involved in printing and getting a magazine to the newsstands, it’s as likely that this was a cynical move by an organisation who knew Jade had very little time left and was determined to beat the competition in getting the ‘memorial’ edition to the public.
Susan Boyle
Where Big Brother’s ratings have been on a steady decline, the TV talent show has really hit its stride in 2009. One of the biggest stories of the year came out of reality television: the story of Susan Boyle who rose to national prominence when she took to the stage for Britain’s Got Talent in April 2009. The original broadcast of her performance was swiftly uploaded to YouTube and, thanks to Twitter, word rapidly spread about the ‘shock’ performance on the show. Hollywood stars, politicians and the news media quickly got involved in discussions about Boyle and the discussions included comment on the relatively new phenomena that has been developing over the last few years: the power of e-media technologies to spread information quickly and across national borders. Within days, Boyle’s’ performance was the ‘most watched’ video on YouTube and the singer had achieved international fame by the end of the week. This was, of course, just the start of the Susan Boyle narrative which continued for several weeks and had several threads: her past was scrutinised and judged; her next appearance on Britain’s Got Talent was eagerly anticipated; the impact of the sudden fame on a ‘simple woman from Scotland’ was discussed and her physical appearance and its changes became a story in itself. The story built to the climax that was the TV programme’s final. This climax became more of an anti-climax though, as Boyle came second to a dance troupe and the excessive media interest in her seemed to have tarnished her talent in the eyes of the voting audience – perhaps a victim of media saturation.
After losing the competition, Boyle had a stint in ‘rehab’ and ironically the media that couldn’t get enough of the Boyle story began to blame the producers of the television programme for not protecting her from the pressures of stardom – perhaps that should have been the pressures of media attention? A subsequent tour had Boyle pull out of a number of performances and she has, until recently, been off the media radar as she is working on the recording of an album.
Now the hype has died down it’s worth considering what the story was really about. ‘Woman can sing’ is hardly news even if ‘contestant in TV talent show can sing’ is slightly more unexpected. Boyle appeared to be newsworthy in the first instance, not because she could sing but because of the way she looked. Susan Boyle surprised people because she does not meet audience expectations: she is a middle-aged, plump woman who has talent. Any exploration of the news values of the Boyle story has to explore the idea of the representation of women, given that the most common positive representations of women, in today’s media are as being thin, young and attractive. Despite the recent ‘Size 0’ debates, the idealised physical image of women is still very narrow and often a woman’s accomplishments are secondary to her physical appearance. Myleene Klass for example is a classically trained pianist. This fact has been played on in recent Pantene ads but the main point of the campaign has been that Myleene has great hair.
The surprise that was created by Boyle, is evident in the video of the original performance where the cuts focus us on the responses of the judging panel and the audience which were clearly based on her appearance. What is clearly visible in people’s faces is mockery and disdain because Boyle did not present the image expected of women singers. She was immediately judged on her appearance and seen to be ‘other’, an outsider in a culture that favours physical perfection, grooming and youth. Piers Morgan reacted with disgust when Boyle, responding to a question about her age, challenged the preconception of her by saying that being 47 was ‘just one side of me’ while gyrating her hips. Morgan reflected the contemporary focus on youth culture by being revolted at the idea that an older woman could be sexual – until she started to sing. Boyle’s voice created an unexpected juxtaposition to the expectations created by her physicality and shone a light on some naturalised contemporary values, forcing people to re-examine them.
However, as the story progressed, Boyle’s emotional breakdowns became the focus of the story and reporting began to consolidate the ideas her performance had originally challenged. Her lack of urban sophistication and what was seen as her sheltered existence reinforced the notion that she is different – ‘not one of us’. The fact that she found the media attention difficult to handle reinforced the view that she was an anomaly, suggesting our initial surprise was, perhaps, the right response as she clearly was not cut out for the glamorous and exciting world of media celebrity. Boyle underwent a makeover and began to look more polished but nothing could alter the fact that she is a plump, middle-aged spinster from the country – not the usual candidate for tabloid attention.
The original performance created a mini-narrative in itself where an unlikely hero rose against the problems and conflicts in front of her to reach her goal. As the story developed further conflicts came to light and the heroic victory Boyle initially achieved on the Britain’s Got Talent stage began to diminish. It is still not clear how this story will resolve.
The role of e-media in the Boyle phenomenon is also significant. The speed with which her story spread, not only across the UK but also across the globe, makes this a unique news phenomenon. Twitter comments and the accessibility of the YouTube video ensured that within 24 hours those who had not seen the original broadcast were aware of it and had access to it. The fact that celebrity support was given to Ms Boyle, notably from Demi Moore, added to the story’s newsworthiness and as more traditional news outlets picked up on the story its impact increased. At the time of writing, the original YouTube video has had over 79 million views (and there are several other versions of the same clip).
Some conclusions
Both of these stories identify the importance of the audience in today’s media landscape. In Boyle’s case, the audience response turned a non-newsworthy event into something that kept the world’s press busy for several weeks. The real story here was about the audience, not Boyle. The fact that millions of people found her performance noteworthy and, perhaps, felt guilty about their initial response to her appearance, was central to the media’s response. Similarly, the media’s focus on Jade’s illness and death was also a response to audience interest. If reality shows did not attract viewers and reality-show-led front page headlines did not enhance newspaper and magazine sales, it’s safe to say the story would not have dominated in the way it did. Given that these two events were followed by another celebrity media frenzy after the death of Michael Jackson (announced on a gossip website and passed round and commentated on via Twitter), it seems the modern audience may have been turned off by Big Brother of late, but the lives and deaths of celebrities big and small capture the public’s interest. New media are playing a major role in spreading the word and enabling audiences to be part of the story.
Steph Hendry teaches Media at Runshaw College and is an examiner for AQA.
This article first appeared in MediaMagazine 30, December 2009.
During 2009, tabloid press coverage has been dominated by the stories of two contrasting reality show contestants and the involvement of both old and new media in their rise and fall. Steph Hendry explores the central and ambivalent role of audiences in the lives of Jade Goody and Susan Boyle.
It’s been an odd year in the world of ‘reality’ television. Big Brother’s 2009 broadcast was less than enthusiastically received with declining viewing figures suggesting the country’s love-affair with BB and its tabloid spin-offs is at an end. This was confirmed by C4’s recent announcement that they will no longer broadcast the show after 2010. On the other hand, reality TV’s dominance in mainstream culture seems to have hit maximum capacity several times this year. Two events dominated the world of reality TV in the first half of 2009: the death of Jade Goody and the rise of Susan Boyle. Coming within a month of each other in March and April, the public and media responses to these two stories can be seen to represent the changing nature of modern media as we enter the second decade of the century. There is a decrease in ‘old media’s’ dominance in leading the way celebrity events are mediated and the phenomenon of Jade Goody was largely driven by ‘old media’ such as television broadcasting, tabloid newspapers and magazines. The Susan Boyle story symbolises the start of ‘new media’s’ power in disseminating information and allowing audiences to be part of the construction of a story; at the same time it highlights the rise in influence of new technologies such as YouTube and Twitter.
Jade Goody
The story of Jade Goody is a tragic one. The death of any 27-year-old mother of two is sad, but in itself not particularly newsworthy; however this event was the resolution of the tumultuous narrative the media and Jade herself had presented of Jade’s life. As a Big Brother contestant in 2002, Jade was vilified by the tabloid press and despised for being ‘fat’, ‘ugly’ and ‘thick’. Despite not winning Big Brother, she went on to be the most successful ex-housemate in terms of her public profile and earnings. She became a regular fixture in magazines such as heat, OK! and Now! and was the subject of fly-on-the-wall documentaries which consolidated her fame. At the height of this time of positive representations she followed the lead of other celebrity ‘brands’ and a perfume was released under her name. Her popularity was hit when she was accused of racist and bullying behaviour whilst taking part in 2007’s Celebrity Big Brother and, until her illness, this scandal damaged her earning potential and her media presence dwindled. Jade was in the process of rebuilding her career when, on India’s version of Big Brother (Big Boss), she was given the news that she had cervical cancer. From this time on, her media saleability increased as her illness, her treatments and ultimately her death were all reported in a range of media forms. Towards the end of her life she was being filmed by Living TV and the image of her physical deterioration was used in tabloid newspapers and in gossip magazines along with a range of stories following her and her family’s responses to the illness.
Jade’s story was that of an underdog making good. She was an ordinary girl, who escaped from the mundanity of everyday life and found herself in the privileged world of celebrity. Not possessing a saleable talent, Jade’s unique selling point was her ordinariness and the fact that she represented a belief that ordinary people, with limited talent, little education and from poor and troubled backgrounds could experience a life of wealth and fame. Her illness and death became public property and it was recognised that this trying time in her life could financially benefit her, her family and a range of media outlets. She epitomised a relatively new media phenomenon, that of the celebrity who lives their life on camera – she has subsequently been replaced by ‘Peter and Katie’ (and now ‘Peter’ and ‘Katie’ separately, of course) and Kerry Katona, who have film crews documenting the day-to-day details of their lives as well as the more glamorous activities they undertake. All of these celebrities turn the events of everyday life – children’s illnesses, marital disputes, bad moods and tantrums – into dramatic conflicts for their televised or reported narratives. Peter and Katie’s recent split and Kerry’s bipolar disorder, cocaine habit and assorted problems have become threads in the ‘soap operas’ provided for their audiences. At times it seems as if these lives are being presented to us as a way to make us feel good about our own lives as the audience is shown the downsides of celebrity life and we are often positioned to sit in judgement as celebrity marriages fray, careers take downturns and we see the human weaknesses behind the ‘public face’. Of course what we are shown is not their private life at all; the public watch lives that are carefully edited and constructed into stories. The audience gratifications received whilst watching such programmes or following tabloid reporting are complex: the aspirational desire for the lifestyles we see, combined with the pleasure we take in seeing these figures suffering, has been described as the modern equivalent of the medieval practice of public punishment. However, Jade’s illness took these ‘pleasures’ to another level as her ‘punishment’ didn’t fit her ‘crimes’: she died the way she lived, with the public watching.
Whilst the web is part of the communication of these stories, celebrity exposés and the ongoing reporting of these reality stars’ lives suits the tabloid format well. Tabloid newspapers like The Sun, The Star and The Mirror are constantly searching for front page stories/images that will persuade readers to buy their publications. One of the conventions of the tabloid is that they tend to use emotive stories to engage their audience – the emotion itself isn’t all that important: shock, outrage, anger, pity, sadness or joy all work well. The reporting of Jade’s illness saw several narrative devices being employed as she was transformed from a figure of hatred and mockery into a tragic hero the audience could identify with due to her ‘ordinariness’, and admire due to her courage and strength in adversity. Her whole family were recast into roles that supported this view (both her husband, Jack Tweedy, and her mother, Jackiey Budden, had received almost exclusively negative press before news of Jade’s illness broke) and the emotional story of Jade’s illness and subsequent death were used to sell newspapers. Tabloid/gossip magazines also contributed to the dominance of this story with their weekly or monthly front covers being devoted to the ‘next instalment’ of the story of her illness. OK! even went as far as to print a special memorial edition before Goody died (including the claim that the magazine contained her ‘last words’). Although the magazine was dated March 24th 2009, it was, in fact, on sale from the 17th March – five days before Jade’s death on the 22nd. The magazine claimed that this was following the family’s wishes but, given the practicalities involved in printing and getting a magazine to the newsstands, it’s as likely that this was a cynical move by an organisation who knew Jade had very little time left and was determined to beat the competition in getting the ‘memorial’ edition to the public.
Susan Boyle
Where Big Brother’s ratings have been on a steady decline, the TV talent show has really hit its stride in 2009. One of the biggest stories of the year came out of reality television: the story of Susan Boyle who rose to national prominence when she took to the stage for Britain’s Got Talent in April 2009. The original broadcast of her performance was swiftly uploaded to YouTube and, thanks to Twitter, word rapidly spread about the ‘shock’ performance on the show. Hollywood stars, politicians and the news media quickly got involved in discussions about Boyle and the discussions included comment on the relatively new phenomena that has been developing over the last few years: the power of e-media technologies to spread information quickly and across national borders. Within days, Boyle’s’ performance was the ‘most watched’ video on YouTube and the singer had achieved international fame by the end of the week. This was, of course, just the start of the Susan Boyle narrative which continued for several weeks and had several threads: her past was scrutinised and judged; her next appearance on Britain’s Got Talent was eagerly anticipated; the impact of the sudden fame on a ‘simple woman from Scotland’ was discussed and her physical appearance and its changes became a story in itself. The story built to the climax that was the TV programme’s final. This climax became more of an anti-climax though, as Boyle came second to a dance troupe and the excessive media interest in her seemed to have tarnished her talent in the eyes of the voting audience – perhaps a victim of media saturation.
After losing the competition, Boyle had a stint in ‘rehab’ and ironically the media that couldn’t get enough of the Boyle story began to blame the producers of the television programme for not protecting her from the pressures of stardom – perhaps that should have been the pressures of media attention? A subsequent tour had Boyle pull out of a number of performances and she has, until recently, been off the media radar as she is working on the recording of an album.
Now the hype has died down it’s worth considering what the story was really about. ‘Woman can sing’ is hardly news even if ‘contestant in TV talent show can sing’ is slightly more unexpected. Boyle appeared to be newsworthy in the first instance, not because she could sing but because of the way she looked. Susan Boyle surprised people because she does not meet audience expectations: she is a middle-aged, plump woman who has talent. Any exploration of the news values of the Boyle story has to explore the idea of the representation of women, given that the most common positive representations of women, in today’s media are as being thin, young and attractive. Despite the recent ‘Size 0’ debates, the idealised physical image of women is still very narrow and often a woman’s accomplishments are secondary to her physical appearance. Myleene Klass for example is a classically trained pianist. This fact has been played on in recent Pantene ads but the main point of the campaign has been that Myleene has great hair.
The surprise that was created by Boyle, is evident in the video of the original performance where the cuts focus us on the responses of the judging panel and the audience which were clearly based on her appearance. What is clearly visible in people’s faces is mockery and disdain because Boyle did not present the image expected of women singers. She was immediately judged on her appearance and seen to be ‘other’, an outsider in a culture that favours physical perfection, grooming and youth. Piers Morgan reacted with disgust when Boyle, responding to a question about her age, challenged the preconception of her by saying that being 47 was ‘just one side of me’ while gyrating her hips. Morgan reflected the contemporary focus on youth culture by being revolted at the idea that an older woman could be sexual – until she started to sing. Boyle’s voice created an unexpected juxtaposition to the expectations created by her physicality and shone a light on some naturalised contemporary values, forcing people to re-examine them.
However, as the story progressed, Boyle’s emotional breakdowns became the focus of the story and reporting began to consolidate the ideas her performance had originally challenged. Her lack of urban sophistication and what was seen as her sheltered existence reinforced the notion that she is different – ‘not one of us’. The fact that she found the media attention difficult to handle reinforced the view that she was an anomaly, suggesting our initial surprise was, perhaps, the right response as she clearly was not cut out for the glamorous and exciting world of media celebrity. Boyle underwent a makeover and began to look more polished but nothing could alter the fact that she is a plump, middle-aged spinster from the country – not the usual candidate for tabloid attention.
The original performance created a mini-narrative in itself where an unlikely hero rose against the problems and conflicts in front of her to reach her goal. As the story developed further conflicts came to light and the heroic victory Boyle initially achieved on the Britain’s Got Talent stage began to diminish. It is still not clear how this story will resolve.
The role of e-media in the Boyle phenomenon is also significant. The speed with which her story spread, not only across the UK but also across the globe, makes this a unique news phenomenon. Twitter comments and the accessibility of the YouTube video ensured that within 24 hours those who had not seen the original broadcast were aware of it and had access to it. The fact that celebrity support was given to Ms Boyle, notably from Demi Moore, added to the story’s newsworthiness and as more traditional news outlets picked up on the story its impact increased. At the time of writing, the original YouTube video has had over 79 million views (and there are several other versions of the same clip).
Some conclusions
Both of these stories identify the importance of the audience in today’s media landscape. In Boyle’s case, the audience response turned a non-newsworthy event into something that kept the world’s press busy for several weeks. The real story here was about the audience, not Boyle. The fact that millions of people found her performance noteworthy and, perhaps, felt guilty about their initial response to her appearance, was central to the media’s response. Similarly, the media’s focus on Jade’s illness and death was also a response to audience interest. If reality shows did not attract viewers and reality-show-led front page headlines did not enhance newspaper and magazine sales, it’s safe to say the story would not have dominated in the way it did. Given that these two events were followed by another celebrity media frenzy after the death of Michael Jackson (announced on a gossip website and passed round and commentated on via Twitter), it seems the modern audience may have been turned off by Big Brother of late, but the lives and deaths of celebrities big and small capture the public’s interest. New media are playing a major role in spreading the word and enabling audiences to be part of the story.
Steph Hendry teaches Media at Runshaw College and is an examiner for AQA.
This article first appeared in MediaMagazine 30, December 2009.
Tuesday, 22 February 2011
Online Age - Untangling the web - another great article from Aleks Krotoski
I have recommended this one before but here is the link again for this series:
Aleks Krotoski and the Guardian's technology team discuss how the internet has transformed our world for our Untangling the web series
This time, she focuses on journalism -
What effect has the internet had on journalism?The web is a valuable tool, but old-fashioned press practices can still be best
Aleks Krotoski and the Guardian's technology team discuss how the internet has transformed our world for our Untangling the web series
This time, she focuses on journalism -
What effect has the internet had on journalism?The web is a valuable tool, but old-fashioned press practices can still be best
Saturday, 19 February 2011
Online Age - The Social Network
Ms Lyall needs you to watch The Social Network, which you should have watched in last Thursday lesson.
Get a feel for the film and its issues by reading (and watching) on...
VIDEO:
Why The Social Network should win the best picture Oscar - video
The year's best film set two in-form heavyweights to work on a key phenomenon of our times, says Andrew Pulver, in the latest of our videos evaluating the Oscar nominees
Article from Guardian Film Blog:
There's a Sweet Smell of Success about The Social Network
The dark influence of Alexander Mackendrick's 1957 classic about the print media lives on in David Fincher's Facebook film
Finally, you should have listened to the podcasts on The History of Social Networking and made some brief notes. Click on 'older posts' or on the 'social networking' label to find them.
Get a feel for the film and its issues by reading (and watching) on...
VIDEO:
Why The Social Network should win the best picture Oscar - video
The year's best film set two in-form heavyweights to work on a key phenomenon of our times, says Andrew Pulver, in the latest of our videos evaluating the Oscar nominees
Article from Guardian Film Blog:
There's a Sweet Smell of Success about The Social Network
The dark influence of Alexander Mackendrick's 1957 classic about the print media lives on in David Fincher's Facebook film
Finally, you should have listened to the podcasts on The History of Social Networking and made some brief notes. Click on 'older posts' or on the 'social networking' label to find them.
Friday, 18 February 2011
Online Age - Changing Media Habits - Everyday Use
The changing place of media in everyday life: traditional media consumption compared with the more creative and flexible uses of media which are becoming more common today. At under seven minutes, this is the compact, fast version of a one-hour lecture.
Wednesday, 16 February 2011
Online Age - video to watch
Watch Julian McDougall explain what we mean by Media 2.0, including the notions of The Long Tail and Wikinomics, two very important ideas which you need to know for your exam.
NOTE: Log-in details required.
Julian McDougall on Media 2.0
If you need support to understand what Henry Jenkins talks about inhis "Convergence Culture" book, then watch this short student Video - also a nice way to add to your own notes.
NOTE: Log-in details required.
Julian McDougall on Media 2.0
If you need support to understand what Henry Jenkins talks about inhis "Convergence Culture" book, then watch this short student Video - also a nice way to add to your own notes.
Thursday, 10 February 2011
Teenage Media Consumption Habits
Find the results of different national surveys and draw some conclusions after comparing these results to your own habits.
Conclusions of the report - Go here to Teens, media and why you shouldn't believe the hype and here to Media consumption habits change as teens age
Report:
How teens use media
Conclusions of the report - Go here to Teens, media and why you shouldn't believe the hype and here to Media consumption habits change as teens age
Report:
How teens use media
Wednesday, 9 February 2011
Online Age: social media revolution
Watch this! Great basic facts that you should know! Social media is definitely not a fad...
Monday, 7 February 2011
Online Age / We Media / Democracy
From Paris to Cairo, these protests are expanding the power of the individual
Twitter is only part of the story of the empowering of a generation failed by the evaporated promises of the labour market
Read full story here.
Extract:
[...]
At the heart of the movement is a new sociological type – the graduate with no future. They have access to social media that allow them to express themselves in defiance of corporately owned media and censorship. With Facebook, Twitter, and Yfrog truth travels faster than lies, and propaganda becomes flammable.
[...]
But the sociology of the movements is only part of the story. Probably the key factor is "horizontalism" which has become the default method of organising. Technology makes non-hierarchical organising easy: it kills vertical hierarchies spontaneously, whereas the quintessential experience of the 20th century was that movements became hierarchised, killing dissent within, channelling the energies in destructive directions.
In addition, the speed of doing things compensates for their relative lack of organization: in this the protesters have stumbled upon the principle of asymmetry – a swarm of disorganized people can effect change against a slow-moving hierarchical body.
[...]
On top of that there is the network. It's become axiomatic that the network is more powerful than the hierarchy.
Twitter is only part of the story of the empowering of a generation failed by the evaporated promises of the labour market
Read full story here.
Extract:
[...]
At the heart of the movement is a new sociological type – the graduate with no future. They have access to social media that allow them to express themselves in defiance of corporately owned media and censorship. With Facebook, Twitter, and Yfrog truth travels faster than lies, and propaganda becomes flammable.
[...]
But the sociology of the movements is only part of the story. Probably the key factor is "horizontalism" which has become the default method of organising. Technology makes non-hierarchical organising easy: it kills vertical hierarchies spontaneously, whereas the quintessential experience of the 20th century was that movements became hierarchised, killing dissent within, channelling the energies in destructive directions.
In addition, the speed of doing things compensates for their relative lack of organization: in this the protesters have stumbled upon the principle of asymmetry – a swarm of disorganized people can effect change against a slow-moving hierarchical body.
[...]
On top of that there is the network. It's become axiomatic that the network is more powerful than the hierarchy.
Changing Behaviour of Marketing Communications (Online Age)
You might want to start with reading the conclusion.
Sunday, 6 February 2011
Online Age - How Twitter engineers outwitted Mubarak in one weekend
How Twitter engineers outwitted Mubarak in one weekend
The way Twitter managed to get past Egypt's internet shutdown was the perfect example of a crisis breeding innovation.
Read the article here (Guardian online)
Extracts:
When they first came to office, the Obama team had a mantra: "Never waste a good crisis". They then spent the next two years doing exactly the opposite. In the past few months we've seen a couple of decent crises – the first involving WikiLeaks, the second involving the political upheavals in Tunisia and Egypt. Both involve the internet in one way or another. So, in the spirit of Obama Mk I, let us ponder what might be learned from them.
[...]
The moral of the story: if governments want to keep information secure, then they have to think architecturally about system design. [...]
The WikiLeaks story has lessons for the rest of us too. The speed with which Amazon and PayPal dropped WikiLeaks should be a wake-up call to anyone who thinks that Cloud Computing services can be trusted to protect the interests of their customers when the government cuts up rough. The idealistic kids who signed up to participate in denial-of-service attacks on PayPal and the credit-card companies as retribution for cutting off WikiLeaks's funding need to learn how to conceal their IP addresses before they engage in "hacktivism" – as many of them discovered this week when the police came knocking.
For hardcore geeks, the WikiLeaks saga should serve as a stimulant to a new wave of innovation which will lead to a new generation of distributed, secure technologies (like the TOR networking system used by WikiLeaks) which will enable people to support movements and campaigns that are deemed subversive by authoritarian powers. A really good example of this kind of technological innovation was provided last week by Google engineers, who in a few days built a system that enabled protesters in Egypt to send tweets even though the internet in their country had been shut down. "Like many people", they blogged, "we've been glued to the news unfolding in Egypt and thinking of what we can do to help people on the ground. Over the weekend we came up with the idea of a speak-to-tweet service – the ability for anyone to tweet using just a voice connection."
They worked with a small team of engineers from Twitter and SayNow (a company Google recently acquired) to build the system. It provides three international phone numbers and anyone can tweet by leaving a voicemail. The tweets appear on twitter.com/speak2tweet.
The way Twitter managed to get past Egypt's internet shutdown was the perfect example of a crisis breeding innovation.
Read the article here (Guardian online)
Extracts:
When they first came to office, the Obama team had a mantra: "Never waste a good crisis". They then spent the next two years doing exactly the opposite. In the past few months we've seen a couple of decent crises – the first involving WikiLeaks, the second involving the political upheavals in Tunisia and Egypt. Both involve the internet in one way or another. So, in the spirit of Obama Mk I, let us ponder what might be learned from them.
[...]
The moral of the story: if governments want to keep information secure, then they have to think architecturally about system design. [...]
The WikiLeaks story has lessons for the rest of us too. The speed with which Amazon and PayPal dropped WikiLeaks should be a wake-up call to anyone who thinks that Cloud Computing services can be trusted to protect the interests of their customers when the government cuts up rough. The idealistic kids who signed up to participate in denial-of-service attacks on PayPal and the credit-card companies as retribution for cutting off WikiLeaks's funding need to learn how to conceal their IP addresses before they engage in "hacktivism" – as many of them discovered this week when the police came knocking.
For hardcore geeks, the WikiLeaks saga should serve as a stimulant to a new wave of innovation which will lead to a new generation of distributed, secure technologies (like the TOR networking system used by WikiLeaks) which will enable people to support movements and campaigns that are deemed subversive by authoritarian powers. A really good example of this kind of technological innovation was provided last week by Google engineers, who in a few days built a system that enabled protesters in Egypt to send tweets even though the internet in their country had been shut down. "Like many people", they blogged, "we've been glued to the news unfolding in Egypt and thinking of what we can do to help people on the ground. Over the weekend we came up with the idea of a speak-to-tweet service – the ability for anyone to tweet using just a voice connection."
They worked with a small team of engineers from Twitter and SayNow (a company Google recently acquired) to build the system. It provides three international phone numbers and anyone can tweet by leaving a voicemail. The tweets appear on twitter.com/speak2tweet.
Sunday, 30 January 2011
Online Age: Everyone's a critic now - Guardian online article
Everyone's a critic now (link to full article)
A refusal to heed the advice of highbrow cultural critics is nothing new. But when the public can quickly share their own - different - views on Twitter, Facebook, myDigg and other social media, is criticism dead?
Extract:
So if this was some sort of critical last stand, a desperate ploy by critics to display their power by circling the wagons, it seems to have failed. Even if The Social Network wins the Oscar as expected, Freedom the Pulitzer Prize and Boardwalk Empire the Emmy, it would only serve to confirm the breach that now seems to exist between the critics and the public. Once upon a time, critics could close that breach through a process close to cultural brainwashing. They could get people to see and love The Social Network, to read Freedom, to watch Boardwalk Empire. Now they can't.
The usual suspect in this immunisation is the internet. It is certainly no secret that the internet has eroded the authority of traditional critics and substituted Everyman opinion on blogs, websites, even on Facebook and Twitter where one's friends and neighbours get to sound off. What is less widely acknowledged is just how deeply this populist blowback is embedded in America and how much of American culture has been predicated on a conscious resistance to cultural elites. It is virtually impossible to understand America without understanding the long ongoing battle between cultural commissars who have always attempted to define artistic standards and ordinary Americans who take umbrage at those commissars and their standards.
A refusal to heed the advice of highbrow cultural critics is nothing new. But when the public can quickly share their own - different - views on Twitter, Facebook, myDigg and other social media, is criticism dead?
Extract:
So if this was some sort of critical last stand, a desperate ploy by critics to display their power by circling the wagons, it seems to have failed. Even if The Social Network wins the Oscar as expected, Freedom the Pulitzer Prize and Boardwalk Empire the Emmy, it would only serve to confirm the breach that now seems to exist between the critics and the public. Once upon a time, critics could close that breach through a process close to cultural brainwashing. They could get people to see and love The Social Network, to read Freedom, to watch Boardwalk Empire. Now they can't.
The usual suspect in this immunisation is the internet. It is certainly no secret that the internet has eroded the authority of traditional critics and substituted Everyman opinion on blogs, websites, even on Facebook and Twitter where one's friends and neighbours get to sound off. What is less widely acknowledged is just how deeply this populist blowback is embedded in America and how much of American culture has been predicated on a conscious resistance to cultural elites. It is virtually impossible to understand America without understanding the long ongoing battle between cultural commissars who have always attempted to define artistic standards and ordinary Americans who take umbrage at those commissars and their standards.
Michael Wesch - Online Age and We media
Another name you will become familiar with is that of Professor Michael Wesch who is a leading lecturer in Media. Below is a video he has produced to show the evolution of the web and how it has transformed the way we interact and engage with content and each other.
The Machine is Us/ing Us
The Machine is Us/ing Us
This is Michael Wesch's lecture about the History of YouTube. It is worth watching the first few minutes to see why the Internet is a global medium!
If the video doesn't appear (it might be too long to load up effectively), please click on this link instead.
Media in the Online Age
This is a video featuring a virtual David Gauntlett explaining how we moved to the Online Age. Please note it wasn't produced by Gauntlett himself though he says he quite enjoyed it. The voices are of course very monotonous but the very fact it was produced with a piece of software then uploaded to YouTube is in itself an illustration of the Online Age we live in!
Thursday, 20 January 2011
One to follow - Untangling the web with Aleks Krotoski
This is really interesting stuff to find out about We Media and Media in the Online Age.
Untangling the web with Aleks Krotoski
About this series:
How has the most revolutionary innovation of our time - the internet - transformed our world? What does it mean for the modern family? How has it changed our concepts of privacy? Of celebrity? Of love, sex and hate?
Recent topics:
Hate and the internet
Does the internet encourage insidious and bullying behaviour? Aleks Krotoski investigates
The internet's cyber radicals: heroes of the web changing the world.
A generation of political activists have been transformed by new tools developed on the internet. Here, a leading net commentator profiles seven young radicals from around the world
Untangling the web with Aleks Krotoski
About this series:
How has the most revolutionary innovation of our time - the internet - transformed our world? What does it mean for the modern family? How has it changed our concepts of privacy? Of celebrity? Of love, sex and hate?
Recent topics:
Hate and the internet
Does the internet encourage insidious and bullying behaviour? Aleks Krotoski investigates
The internet's cyber radicals: heroes of the web changing the world.
A generation of political activists have been transformed by new tools developed on the internet. Here, a leading net commentator profiles seven young radicals from around the world
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