MIL NOTES

Behind the Scenes: Cre/tors of Medi/ /nd Inform/tion

!. WRITERS AND JOURNALISTS
#. EDITORS
$. DIRECTORS
%. PERFORMERS
– Anyone th@t @cts
'. VISUAL ARTISTS

The Good Medi/ Pr/ctitioner

!. Truthful
#. F@ir @nd objective
$. Responsible @nd with Integrity
%. Emp@thic @nd symp@thetic
'. H@rdworking

● Theres no such thing @s true objectivity

● Objectivity of sources is possible

Select Appro/ched /nd Theories in Medi/

!. M@ss Society Appro@ch
– Society is @n integr@ted whole, with structures @nd institutions which exert control over it
– A sociologic@l theory - Not only used in the field of medi@ - Society is @ whole
– Cert@in institutions h@ve control over society
– Medi@ is used to help these institutions exert control

Ch@r@cteristics of Medi@
!. Medi@ @s @ powerful @gent in est@blishing control
#. Ch@r@cteristics of M@ss Society
– Industri@l C@pit@lism
– Urb@nis@tion
 – Adv@ncement of Science
– Democr@cy
– M@ss educ@tion @nd public communic@tion

#. B@se Super Structure Model

– B@sed on K@rl M@rxʼs theories on cl@ss @n@lysis @nd cl@ss struggle - @ di@gr@m expl@ining societyʼs dyn@mics @nd the role of
soci@l institutions in M@int@ining the st@tus quo

– Superstructure: M@int@ins @nd legitimises the b@se

– Medi@ @s p@rt of the cultur@l superstructure
– Mode of Production = Forces of Production + Rel@tions of Production

$. Hegemony
– Antonio Gr@msci
– The elite uses consensus to perpetu@te @ ruling ideology world view in society. This is done through medi@ @nd other soci@l
institutions.
– COERCION: Use @ direct force @nd institutions which exhibit @nd implement force
– CONSENSUS: A form of control when individu@ls willingly @ssimil@te the world view or hegemony of the domin@nt group
– How the elite view the world

%. Ideologic@l St@te App@r@tuses

– Louis Althuesser
– Medi@ gener@te ideologies @nd beliefs which serve the interests of the economic@l @nd politic@l elite. Reinforcing the existing
rel@tionships in society @nd their domin@nce over the m@sses.
– The superstructure is reconfigured @s the ide@logic@l st@ts @pp@r@tuses @nd their repressive st@te @pp@r@tuses
– Ide@logic@l st@te @pp@r@tus: institutions used to control us unknowingly
– Politics @nd culture including but not limited to educ@tion@l institutions @nd medi@
– M@kes you think th@t everything is ok@y
– Repressive st@te @pp@r@tuses: for you to not fight the government
– Police, milit@ry, @nd the rule of l@w
– They exist to control @nd coerce
 '. Prop@g@nd@ Model
– Edw@rd Herm@n @nd No@m Chomsky
– Medi@ @s system supportive prop@g@nd@
– Medi@ is p@rt of @ system @nd exists to support the system
– Medi@ @s ideologic@l institutions th@t serve @s system supportive prop@g@nd@ function through reli@nce on m@rket forces,
intern@lised @ssumptions @nd self censorship
– HOW NEW ARE FILTERED
– Size, ownership, profit orient@tion
– Advertising
– M@ss medi@ news
– Fl@k @nd enforcers
– Ideology @nd fe@r mongering

The Rise of /n Inform/tion Society

– Diffusion of Innov@tions: Popul@rized by Everett Rogers (1962) expl@ins how technology @nd new developments spre@d in society
– Communic@tions Revolution: Advent @nd new influx of new communic@tion technology
– Inform@tion Society: Tr@de of Inform@tion like Currency, E@rly 1960s in J@p@n, Indic@ting on inform@tion economy @nd the
emergence in @ thinking cl@ss @nd incre@sing glob@l connectivity

P/ssive Audience Theories

!. HYPODERMIC NEEDLE @k@ SYRINGE (H@rold L@sswell 1920s)
– Alre@dy disproven
– Also known @s the m@gic bullet theory
– Medi@ @s powerful conduits of mess@ges @nd @udiences @s p@ssive recipients who will believe @nything from the medi@
– Schol@rs used to believe th@t @udiences c@n be br@inw@shed by the television
– Disproven bec@use people re@lized th@t @udiences @re c@p@ble of critic@l thinking

#. AGENDA SETTING THEORY (M@xwell McCombs @nd Don@ld Sh@w 1972)

– Medi@ producers help sh@pe politic@l re@lity @s they determine which issues @re import@nt @nd thus m@y set the @gend@ @t
politic@l c@mp@igns
 – Things @lw@ys end up in slog@ns - not the @ctu@l pl@tforms or issues
– Medi@ m@kes it seem th@t politics is @ be@uty contest - Wh@t the medi@ @ppoints @s import@nt is wh@t we see @s import@nt

$. TWO STEP FLOW OF COMMUNICATION (L@z@rsfeld et @l 1940)

– Sometimes medi@ is not the most powerful
– Opinion le@ders @re the medi@tors of inform@tion between m@ss medi@ @nd the @udiences

Uses /nd Gr/tific/tions

– Audience oriented
– People use medi@ bec@use it s@tisfies you

!. PERSONAL IDENTITY
– Audiences look for medi@ @ligned with their person@l v@lues @nd ideologic@l beliefs
– Medi@ v@lid@tes your identity

#. INFORMATION
– Audiences w@nt to le@rn or seek @dvice from @ medium
– The need to be upd@ted
– Use of medi@ to inform self

$. ENTERTAINMENT
– Diversion from re@l world problems

%. SOCIAL INTEGRATION
– The desire to connect with f@mily, friends, @nd other p@rts of their soci@l circle
– People n@tur@lly w@nt to be integr@ted. They do not w@nt isol@tion.

Cultur/l Effects
– George Gerbner (1976)
– Medi@ linked to violent beh@viour
– Medi@ p@rticul@rly television cultiv@tes in its @udiences @ w@y of sensing @nd seeing the world thereby sh@ping their opinions @nd
views @nd beh@viour
– H@s been used by other schol@r in @n@lysing violence in television @nd form@tion of politic@l opinion
 – CRITICISM: Very mech@nic@l, dismisses other f@ctors in the soci@l environment
– Doesnʼt work @ll the time but c@n be mirrored in some inst@nces in society

Active Audience Theories

– Audience Reception (Stu@rt H@ll)
– Before people checked Audience Perception (Psychologic@l)
– Audience Reception - More Sociologic@l
– We receive mess@ges depending on our b@ckground

!. ENCODING-DECODING FRAMEWORK
– Medi@ texts @re l@rgely ideologic@l
– Encoded with org@nis@tion@l @nd contextu@l doctors surrounding its production
– Audiences negoti@te the me@ning in medi@

#. POLYSEMIC TEXT
– Audience see v@rious me@nings from medi@ @nd inform@tion texts, sh@ped by their soci@l circumst@nces such @s their cl@ss,
gender, @nd ethnicity

Reception /nd Resist/nce

– We h@ve three w@ys in which we decode medi@
– Three Modes of Re@ding - D@vid Morley (1980)

!. DOMINANT READINGS
– Audiences @ccept the encoded me@ning @nd reproduced the producerʼs preferred re@ding
– Its when you @gree with intended me@ning

#. NEGOTIATED READING
– P@rti@l @ccept@nce in the end you know th@t its just @n @d
– You recognise the me@ning but you know the truth
– P@rti@lly @ccept the encoded me@ning @nd mostly @ccepts the preferred re@ding but modifies some p@rts reflecting their own
position, experiences, @nd opinions

$. OPPOSITIONAL READING
 – You did not @gree with the mess@ge @t @ll
– You donʼt c@re for the me@ning given @t @ll
– Audiences t@ke the opposition@l st@nce to the preferred re@ding @nd resists it completely
– Usu@lly occurs when the sources h@s little to no credibility

Other Theories in Medi/

!. FOURTH ESTATE (Edmund Burke 1787)
– Refers l@rgely to the press or journ@lism
– As the fourth pill@r of democr@tic societies which ensure check @nd b@l@nce of the st@te @nd its br@nches
– Medi@ is supposed to be the fourth br@nch of government
– Its the medi@ʼs job to point out the neg@tives done by the government
– For ex@mple: Noyn

#. SPIRAL SILENCE (Elis@beth Noelle-Neum@nn 1974)

– People fe@r isol@tion @nd repris@l from their communities @nd soci@l groups. As such, they tend to rem@in silent when they feel
th@t their views oppose the m@jority opinion on @ subject

Interview Guide
– Prep@re questions @he@d of time
– Dont burn bridges

Kinds of Sources
!. PRIMARY SOURCES
– Origin@l m@teri@ls produced during @ period
– M@y @lso refer to direct inform@tion sources such @s experts or @ctu@l people who experiences @nd event
– Evidences @lso f@ll in this c@tegory
– Ie. P@intings

#. SECONDARY SOURCES

The Se/rch Engine

!. SEARCH ENGINE
– Comp progr@m
 – C@p@ble of se@rching numerous documents @nd websites through the use of keywords
– M@y @lso use Uniform Resource Loc@tor

#. HASHTAGS
– Used to l@bel content in posts

$. SEARCH ENGINE OPTIMISATION

– Technique used to incre@se tr@ffic on their site
– Technique of Website Owners in order to put their site @t the top
– Donʼt use keywords more th@n 3 - 5 times

Proper Cit/tion Guide

– M@kes use of APA Form@t (Americ@n Psychology Associ@tion)
– Use w@y-b@ck m@chine

!. CMS - Chic@go M@nu@l of Style

– Used when publishing or writing @ m@nuscript

#. MLA - Modern L@ngu@ge Associ@tion

– Used by the Hum@nities, L@ngu@ge Studies, Comp@r@tive Liter@ture, @nd etc

Inform/tion Sources
!. INDIGENOUS SOURCES
– N@tur@lly occurring sources in @ p@rticul@r region or environment

!. ORAL TRADITION
– W@y of p@ssing down inform@tion

#. LEGENDS
– or Al@m@t
– Usu@lly @bout f@mili@r things in the environment
– Expl@ins the origin of something
 $. FOLK TALE
– o Kwentong B@y@n
– Story set in @ p@rticul@r time @nd pl@ce usu@lly preserving its ch@r@cteristics
– Ie. Bern@rdo C@rpio

%. EPIC
– o Epiko
– Adventures of @ hero
– Long @s fuck
– Ie. Ili@d, R@m@y@n@, Bi@g ni L@m-Ang

'. Mythology
– o Mitolohiy@
– Stories @bout God, the cre@tion of the world, @nd m@nkind
– Ie. Greek, Norse, Rom@n Myth

#. LIBRARIES
– Roy@l Libr@ry of Alex@ndri@, oldest known lib
– Bibliotheque N@tion@le de Fr@nce, oldest existing libr@ry
– N@tion@l Libr@ry of the Philippines

$. GOVERNMENT INSTITUTIONS
– N@tion@l Historic@l Commission of the Philippines
– N@tion@l Commission for Culture @nd the Arts

%. MUSEUMS
– Louvre Museum
– Smithsoni@n Institution
– Ay@l@ Museum
– Mind Museum

'. ARCHIVES
 m. BLOGS
– Web Blogs
– Blogger sh@res his/her opinion kind@ like @n editori@l or smtg

Ownership /nd Regul/tion in Medi/

!. CONGLOMERATION
– Medi@ group th@t owns @ l@rge number of comp@nies in v@rious medi@ forms
– Monopoly
– Ie. LOPEZ GROUP INC.

#. SYNDICATION
– Rights to content is bought for loc@l bro@dc@st or consumption
– Ie. Foreign Movies - Netflix

$. SUBSIDIARIES
– Sm@ller comp@ny owned by l@rge comp@ny
– Ie. St@r M@gic, TFC, Sky DSL, ANC, Dre@msc@pe, DZMM, MYX

%. CONVERGENCE
– @k@ Synergy
– M@kes use of multiple medi@s in order to promote @ product

'. INTEGRATION
– Vertic@l: Single corpor@tion domin@tes the entire industry in @ single medi@ field (St@rt to Finish of @ Production)
– Horizont@l: A corpor@tion @cquires simil@r corpor@tions in the field (From One Comp@ny to Another - More Ch@nces Of Winning) -
Across @ll pl@tforms

Tr/dition/l Segment/tion Model

– T@rget B - E
UPPER MIDDLE CLASS (A)
– M@n@geri@l
– Allied with l@rge firms
– Profession@ls with ste@dy incomes

MIDDLE CLASS (B)

– Middle M@n@gement
– Administr@tive or profession@l

LOWER MIDDLE CLASS (C1)

– Supervisory or cleric@l
– Junior m@n@geri@l
– Administr@tive or Profession@l

SKILLED WORKING CLASS (C2)

– Skilled m@nu@l workers

WORKING CLASS (D)

– Semi-skilled or unskilled workers

POOREST OF THE POOR (E)

– Lowest gr@de or unemployed

Cross Cultur/l Consumer Ch/r/cteris/tion

– By Young @nd Rubc@m LTD

!. ASPIRER
– Driven to look good in other peopleʼs eye
– Superfici@l
– Im@ge is everything to him
– Core Need: STATUS
#. MAINSTREAM
– Live in domestic everyd@y routines
– “We” r@ther th@n “me”
– Goes with the flow
– Responds to est@blished br@nds @k@ F@mily Br@nds
– Core Need: SECURITY

$. STRUGGLER
– Those who live for tod@y, few pl@ns for tomorrow
– Is@ng tuk@, is@ng k@in
– Seen @s victims, losers, @nd w@strels
– Alcohol, soft drinks, @nd junk food person
– Responds to visu@l imp@ct @nd physic@l sens@tion
– Core Need: ESCAPE

%. REFORMER
– V@lues independent judgement
– Doesnʼt go with the flow
– Anti-m@teri@listic @nd intellectu@l
– Soci@lly @w@re, seeking out the @uthentic @nd h@rmonious
– Core Need: ENLIGHTENMENT

'. EXPLORERS
– Alw@ys @fter something new, new frontiers, @nd new experiences
– Likes trying out new things
– Responds to br@nds offering new sens@tions, indulgence, @nd inst@nt effects
– Core Need: DISCOVERY

m. SUCCEEDER
– The @spirer th@t succeeded in life
– Looks for the s@me prestige th@t they think they deserve
– Tend to occupy positions of responsibility
– Self confidence, strong go@l orient@tion, @nd very org@nised
 – They seek c@ring @nd protective br@nds
– Ie. Life Insur@nce Pl@ns
– Core Need: CONTROL

r. RESIGNED
– Usu@lly old people
– People with const@nt @nd unch@nging v@lues built over time
– They view the p@st nost@lgic@lly, respect institutions @nd enjoy tr@dition@l roles
– Choices @re driven by need for s@fety @nd economy
– Ie. S@ndugo, Rhe@, White Flower
– Core Need: SURVIVAL

Guidelines for Medi/ Producers

!. CODES
– Set of st@nd@rds, principles, @nd policies th@t should be observed
– Objective

#. ETHICS
– Set of individu@l v@lues observed grounded on principles
– Person@l

$. CODE OF ETHICS
– Assures qu@lity service for st@keholders
– Serves @s @ qu@lity control

1947 HUTCHINS COMMISSION

– Commission on Freedom of the Press
– Responsible use of Freedom of Expression
– Should prioritises welf@re of society over their c@reer
– No Self Interest
– News should be @ccur@te, objective, @nd me@ningful
– Should provide unbi@sed point of views, comments, @nd criticism
– Should represent the m@rgin@lised
SPJ Code of Ethics
!. Society of Profession@l Journ@ls
– Justice @nd democr@cy @re import@nt for the enlightenment of the public
– Ethic@l Journ@lism is
– Seeking truth @nd repe@ting it
– Minimising h@rm (ie. Mos@ic F@ces in News)
– Acting independently with no other oblig@tion but to the publicʼs right to know
– Account@bility @nd tr@nsp@rency
– Biggest V@lue is THE TRUTH

#. Philippine Journ@listʼ Code of Ethics (1988)

– Dr@fted by the Philippine Press Institute @s discussed in @ conference held in the 1988 N@tion@l Press Week
– H@s 13 @rticles

Codes /nd Conventions in Medi/ /nd Inform/tion

!. CODES
– System of signs which cre@te me@ning in medi@ @nd @fternoon
– You words

#. CONVENTIONS
– W@y codes @re org@nised
– The rules
– How you write

Types of Code
!. SYMBOLIC CODES
– Soci@l @nd cultur@l in n@ture
– Exists in re@l life beyond the re@l life output
– Reflects wh@t is bene@th the surf@ce of wh@t we see in medi@ texts
– The me@ning does not ch@nge; the connot@tion is there

○ SETTING
 – Time @nd pl@ce where @ n@rr@tive or story t@kes pl@ce
– Mise en scene: French term me@ning “everything within the fr@me”
– Origin@lly used in the@tre, but in medi@ this is used to describe @ll elements in @ fr@me, including their @rr@ngement
– Also includes story fr@ming @nd etc.
– Donʼt use @n element if it h@s nothing to do with your story

○ ACTING
– Ch@r@cter portr@y@l through gestures, f@ci@l expressions, body l@ngu@ge, movement, @nd voc@l qu@lities, @mong others

○ COLOUR
– Cultur@l in n@ture, with connot@tions @nd underlying mess@ges

#. TECHNICAL CODE
– Exists only within e@ch specific medi@ industry
– TV codes is for TV
– W@ys in which equipment is used to tell the story
– Exists only within e@ch kind of medi@ output @nd not outside

○ CAMERAWORK
– Includes @ngles, kind of shots, @nd c@mer@ movements

○ LIGHTING
– Includes description of lights to be used in e@ch scene

○ EDITING
– Includes tr@nsitions @nd directions in putting together v@rious elements

○ AUDIO
– Includes di@logue, music, @nd spin effects
– C@n @lso be symbolic

○ PRINT
– includes copyediting shorth@nd @nd etc.
 $. WRITTEN CODE
– Form@l written l@ngu@ge used in medi@ outputs
– Printed L@ngu@ge: Text presented within @ fr@me (includes ch@r@cter gener@tion in @udio visu@l outputs)
– St@ys with you @nd gets p@ssed down
– Spoken L@ngu@ge: Includes di@logue @nd @nd lyrics

Types of Convention
!. FORM CONVENTIONS
– W@ys in which @udiences except codes to be @rr@nged
– Ex@mples:
– FILM: Title @t the beginning, credits @t the end
– NEWS: He@dline @nd le@d @t the beginning, most import@nt news @re @t the front p@ge
– VIDEO GAMES: Tutori@ls @re @t the beginning
– CONTINUITY EDITING: Allows the fluidity @nd consistency of @ scene

#. STORY CONVENTIONS
– Common structures @nd underst@ndings in storytelling
– Ex@mples
– N@rr@tive Structure
– Ch@r@cter Construction
– Point of View
– C@use @nd Effect

$. GENRE CONVENTIONS
– Common use of tropes, ch@r@cters, settings, or themes
– Closely linked with @udience expect@tions
– C@n be form@t or them@tic
– Ex@mples:
– Horror Genre: Usu@l settings @re @b@ndoned @nd isol@ted sp@ces. Colors @re predomin@ntly d@rk, use of silence @nd creepy
sound effects.
– Rom@nce Genre: Boy meets girl. Popul@r urb@n city loc@tions. Pop music OST @nd score. Voice overs. Light-coloured themes
 @nd scenes.

NEWS VALUES
!. Relev@nce or Imp@ct
#. Timeliness or Immedi@cy (Sense of Urgency - Must be reported)
$. Proximity
%. Prominence
'. Hum@n Interest
m. Oddity
r. Currency (More fleeting)
t. Conflict

JOURNALISM
– B@sic@lly @ present@tion of news in v@rious form@ts

Fr/meworks for An/lysing News

!. HEADLINES
– Deemed import@nce

#. FRAMING AND PRESENTATION

– Whose story is presented?
– How is the story presented?

Common Issues in Journ/lism

!. Origin@l Words @nd Pl@gi@rism

#. Bi@ses
$. Sens@tion@lism: Form
%. T@bloidis@tion: Content, Driven by re@der preference @nd commerci@l requirements, Populist, F@scin@tion for covering the lives
@nd @ntics of celebrities (Blind items, Politic@l W@rs, Crime W@rs, Entert@inment)
 '. T@bloid Journ@lism: Text m@nipul@tion @nd story embellishments
m. Envelopment@l Journ@lism: Bribery to influence them to write news f@vour@ble to one side (C@n be perks @nd privileges)
r. Yellow Journ@lism: High interest stories, sens@tion@l crime news, l@rge he@dlines @nd reports exposing corruption in business @nd
government, m@rketed for shock v@lue

Fr/mework for An/lysis: Comics, Books, /nd M/g/zines

*Comics
– Thin @nd Expensive
– Comics used to be unpopul@r but @re now popul@r @s comp@red to m@g@zines

!. Content T@rgeting
– B@sed on @ge, gender, soci@l st@tus, @mong others

#. Medi@ L@ngu@ges
$. Genres
%. Represent@tions @nd stereotypes
'. Tr@nsmedi@ Connections

ISSUES
!. Effects of Mess@ges
#. Stereotyping
$. Misrepresent@tion @nd Depiction of Re@lity

Leg/l, Ethic/l, Soci/l Issues

!. INTELLECTUAL PROPERTY
– Output of Intellectu@l Pursuit
– Bl@nket term for @ll connected to intellectu@l pursuits
– Import@nt: Recognising the person who conceptu@lised the ide@. Who credit should be given to.
– Ie. P@tents (Invention), Copyright (All written works @nd @ll works of @rt - ), Tr@dem@rk (Signs @ssoci@ted with goods @nd
br@nds - or )
– Pl@gi@rism: STEALING
 #. ETHICAL USE OF INFORMATION
– Cit@tions: Alw@ys cite references. Aside from bibliogr@phy, in text cit@tion or foot notes c@n be used.
– Quoting more th@n 500 words m@y viol@te f@ir use
– Direct quotes must be under 40 words @nd uses “ “
– Pl@gi@rism: Copying someone elseʼs works or ide@s without proper cit@tion.
○ Direct Pl@gi@rism: Word for Word copying without quot@tions or @ttributions
○ Self Pl@gi@rism: Submission of @ previous work or p@rts of @ previous work @s requirement in @nther course without
permission from te@chers or borrowers.
○ Mos@ic Pl@gi@rism: “Borrowing” phr@ses, interch@nging @n @uthorʼs words with synonyms while keeping the s@me structure
@s the origin@l. Also known @s p@tch writing.
○ Accident@l Pl@gi@rism: Neglecting to cite sources or unintention@lly using the s@me or simil@r words @s the origin@l @uthor
without @ttribution.
– Public Dom@in: M@teri@ls with expired copyright, open source m@teri@ls or those under the Cre@tive Commons License
– F@ir Use: Limit@tions @nd exceptions, when used in cert@in circumst@nces, user need not p@y the origin@l owner for its use,
Educ@tion is covered in f@ir use (@s long @s m@teri@l is not reproduced for commerci@l purposes)
○ No need to secure permission from copyright owner if:
◆ Copying m@teri@l for review, comment@ry, critic, or p@rody
◆ Non profit or educ@tion@l book
◆ Completely tr@nsformed from origin@l
◆ Different purposes

The Opposing View on Copyright /k/ COPYLEFT

– Medi@ @dvoc@tes @nd communic@tion rights @ctivists believe th@t cre@tive work should be free
– Free @nd Open Source Softw@re M@n@gement (FOSS)
– Cre@tive Commons Licensing
– Copyleft: The right to freely use, modify, copy, @nd sh@re softw@re, work of @rt, etc. on the condition th@t the s@me rights be
gr@nted to subsequent users or owners