Media & Information

literacy

MEDIA
– typically refers to the mass communication through books,
newspapers, magazines, radio, television, film, and world wide Media is always either
web incomplete or inflated
– also refers to any devices used to communicate messages

INFORMATION
– a broad term that covers processed data, knowledge derived from study, experience,
instruction, signals, or symbols
– while media is generally physical, tangible, or visible, information is the opposite

LITERACY
– the ability to identify, understand, interpret, create, communicate, and compute, using printed,
written, and dig ital materials associated with varying contexts.

FUNCTIONAL LITERACY • Achieve their goals

• Develop their knowledge and potential
– involves a continuum of learning, wherein • Participate fully in their community and
individuals are able to: wider society

HOW DID THE MIL INITIATIVE START?

• the lack of widespread basic literacy poses a fundamental challenge for developing nations, thus,
United Nations Educational, Scientific and Cultural Organization (UNESCO) raised literacy rates
worldwide—including media literacy and info literacy

MEDIA AND INFORMATION LITERACY

• A set of competencies that empowers citizens to access, retrieve, understand, evaluate, use,
and create, as well as share information and media content in all formats, using various tools, in
a critical, ethical and effective way, in order to participate and engage in personal, professional
and societal activities.

MIL SKILLS IN THE 21ST CENTURY Critical Analysis

– ability to give meanings to
Aesthetic & Creative Interactive
and to understand different
media contents
– ability to view, – ability to communicate
listen to, create, through media and an Security
and interpret media ability to identify with – ability to solve problematic
contents different media roles situations and avoid
unpleasant circumstances
5 LAWS OF MIL
1 Information and/or media are critical to civic engagement and sustainable development and
equally relevant in all forms;

2 Every citizen is a creator of 3 Informati on/media messages are not always neutral and
information and knowledge; truth should be made understandable;
Every citizen has a right to access and understand Media and information literacy
new information, knowledge, messages; 5 is acquired as a process.

4 PURPOSES OF MEDIA
1. To Inform
• When mass media is used in this way, it can be extremely powerful
• People need to know. There’s a saying that Knowledge is Power
• People become informed about general and universal facts through textbooks read in
schools, and current events in the community and in the world through news
2. To Entertain
• Sometimes the best way to engage a large audience is through humor or an interesting
story
• Much of television and film these days are created as escape vehicles
• A lot of companies have tried to sell their products by entertaining through advertising
• In urban areas, radio stations exist mostly to entertain urban listeners while they serve as
developmental tools in rural areas
3. To Persuade
• This may mean to persuade a person to buy something, as in the case of advertising, or
this may simply mean to persuade a person to think or feel a certain way
• Features and editorials are written in magazines and newspapers to argue a case
• Live debates or talk shows discussing social issues also help the audience form an opinion
4. To Enlighten
• The mass media forms that most often try to achieve this goal are books and film, and
public service messages
• Most philosophies of modern society can be traced to great literary works and classic films
• Novels and songs have sparked revolutions
• Documentaries do not only inform, persuade, and entertain an audience, but also to
enlighten them about a current situation resulting into an advocacy

Media Contexts & Principles

4 CONTEXTS OF MEDIA
AS AN INSTITUTION
– an established organization or corporation (such as a bank or university)
– a media institution is a company or organization that is accountable for information
– if a media company has reached institution status, it has become a convention-setter in society
alongside traditional social institutions such as the church, school, government, and family.
AS A DATA STORAGE
– any technology—including devices and materials—used to place, keep, and retrieve electronic
data
• Magnetic Devices
• Optical Devices
• Flash Memory
• Cloud & Drives
AS A COMMUNICATION CHANNEL
– tangible objects used to communicate
5 TYPES OF NOISE
Technical Socio-psychological
– channel interruptions – preconceived notions and/or cultural bias
Environmental Physiological
– external elements – physical handicaps
Semantic
– language barriers
Communication is an ongoing and reciprocal process between “interpreters” working to create
meaning in the messages through signs and symbols
THE MEDIUM IS THE MESSAGE (Marshall McLuhan)
– the medium influences how the message is perceived
– the technology that transfers the message changes us: the society, the individual, the
family, work, leisure, and more
– media is also content or informations which is generally the message—the facts, data, or
knowledge obtained from a source
MEDIA LANGUAGE
– if media is the message itself then it needs a system to convey meaning
Written
– print-based media; also in text such as captions on photographs. The language chosen
generates meaning—presents the story in a particular way.
Verbal
– how the language is delivered and its context used are important factors to generate
meaning
Nonverbal
– body language and gestures. The meaning received by the audience is seen through how
the actor uses his body.
Aural
– diegetic and nondiegetic sounds. Sound can help create a scene and construct the
environment, atmosphere and mood, and define the genre.
• Diegetic – you can hear the person talking
• Non Diegetic – sounds we cannot identify
 Visual
– what is on-screen was specifically chosen to generate a series of effects and meaning
(semiotics), even the camera angles and movements

AS CONTENT AND CULTURE

– a socially constructed shared meaning
– Culture is the world made meaningful; it is socially constructed and maintained through
communication; especially mass communication
– Because culture can limit and divide or liberate and unite, it offers us infinite opportunities to
use communication for the common good

6 PRINCIPLES OF MEDIA
PRODUCTION
• Media materials are constructed
PROFIT
• Media materials are created and distributed within a commercial environment
POWER
• Media materials are created and distributed within a political environment
PLATFORM
• Mass media present their ideas within primary genres of Entertainment, News,
Information, Education, and Advertising
PARTICIPATION
• People are active recipients of media messages
PERCEPTION
• Media representations play a role in the way society understands its reality

Information Literacy &

information sources

THE RIGHT QUESTIONS LEAD TO THE RIGHT INFORMATION

• What information do you need?
• Why do you need the information?
• When do you need the information?
• Where do you get your information?
• How do you get your information?
Information Literacy
– the abilities to recognize when information is needed and to locate, evaluate, effectively,
and responsibly use, and communicate information in its various formats.
AN I NFORMATION LITERATE CAN:

Identify
• the nature and extent of the
information needed.
Find
• needed information effectively
and efficiently
Evaluate
• information and its sources
critically and incorporate
information into his/her
knowledge base and value
system
Incorporate
• selected information into one’s
knowledge base
Apply
• information effectively to
accomplish a specific purpose
Acknowledge
• many of the economic, legal, and
social issues surrounding the use
of information and access and
use information ethically and
legally

SCOPE AND DEPTH

SCOPE DEPTH
BROAD DEEP
– covers a lot of topics – a lot of information
NARROW SHALLOW
– covers only one specific – brief entry
aspect of the topic

CHARACTERISTICS OF INFORMATION SOURCES

FACTUAL VS. ANALYTICAL OBJECTIVE VS. SUBJECTIVE
FACTUAL OBJECTIVE
– what is done, happened, existing – all sides of the topic, story, or
(what, where, when, who) issue are presented
– i.e. straight news
SUBJECTIVE
ANALYTICAL – does not present all sides of the
– interpretation of facts (whys topic (but could be helpful if you
and hows) recognize the bias and know
– i.e. News Feature what you’re looking for)
 CURRENT VS. HISTORICAL SCHOLARLY VS. POPULAR
CURRENT SCHOLARLY
– is up to date, present/recent – usually intended for academic purposes
state of affairs targeting researchers
– i.e. library books – cited and verified sources, written by experts/
with credentials
HISTORICAL – uses scientific jargons
– is anything about the past or – i.e. Academic Journals
how id eas developed
– i.e. history books, artifacts, POPULAR
archived, classic literature – is intended for general audiences
– have pictures and videos
– uses words that are easy to understand
– merely for entertainment
– i.e. Magazines
PRIMARY, SECONDARY, & TERTIARY
PRIMARY SOURCES
– a report of orig inal research, discoveries, ideas
– includes research articles in journals, dissertations, patents, conference papers (may vary by
discipline)
– example: Article about a new, greener, and less expensive method to produce poly lactic acid
(PLA) for 3D printing.
SECONDARY SOURCES
– interpretations, commentary, or evaluations or primary sources.
– synthesize the primary (and sometimes other secondary) sources
– includes review articles, books/textbooks, encyclopedias
– example: Article on recent developments in PLA applications; book about biodegradable
plastics
TERTIARY SOURCES
– collections of primary and/or secondary sources
– little to no commentary on the works themselves, but discovery is based on various search
strategies
– includes databases, catalogs, search engines
– example: web of science, academic search complete, google scholar, library catalog

Media Effect Theories

AGENDA-SETTING
– what the media prioritizes to show its audience
– explains the relationships between the emphasis that the mass media place on issues and the
importance that media audiences attribute to those issues
PRIMING
– the ability of media to provide the context for the discussion of a given issue, thereby setting
the stage for audience understanding
– occurs when exposure to information or an event activates a construct in audience members’
memories, which then informs subsequent judgments that they make

FRAMING
– if agenda-setting tells us what media shows, framing tells us how media shows it
– focusing attention on certain events, then placing them within a field of meaning called frames

TYPICAL MEDIA FRAMES

HUMAN IMPACT
• focuses on descriptions of individuals and groups affected by an issue
POWERLESSNESS
• refers to ‘the dominance of forces over weak individuals or groups
ECONOMICS
• reflects the preoccupation with “the bottom line”, profit and loss
MORAL VALUES
• the indirect reference to mortality and social prescriptions
CONFLICT
• the journalistic practice of reporting stories of clashing interpretation

FRAMING TECHNIQUES
METAPHORS
• To frame a conceptual idea through comparison to something else.
STORIES (MYTHS & LEGENDS)
• To frame a topic via narrative in a vivid and memorable way.
TRADITIONS (RITUALS & CEREMONIES)
• Cultural mores that imbue significance in the mundane, closely tied to artifacts.
SLOGANS, JARGON, & CATCHPHRASES
• To frame an object with a catchy phrase to make it more memorable and relatable.
ARTIFACTS
• Objects with intrinsic symbolic value, a visual/cultural phenomenon that holds more
meaning than the object itself.
CONTRAST
• To describe an object in terms of what it is not
SPIN
• To present a concept in such a way as to convey a value judgment (positive or negative)
that might not be immediately apparent; to create an inherent bias by definition
CULTIVATION
– states that heavy exposure to media causes individuals to develop an illusory perception of
reality based on the most repetitive and consistent messages of a particular medium
– most commonly applies to analyses of television because of that medium’s uniquely pervasive,
repetitive nature

DIFFUSION OF INNOVATION
– states that an innovation (i.e, an idea, new technique, or new technology) diffuses or spreads
throughout society in a predictable pattern

INNOVATION-ADOPTION CATEGORIES
INNOVATORS
• Described as venturesome and ready to try or start new things.
• Their social relationships tend to be more cosmopolitan than those of other groups.
• Such people tend to form cliques and communicate with one another despite
geographical distances.
EARLY ADOPTERS
• Are more localite than cosmopolite.
• Due to their integral part in the local society, this adopter category produces the most
opinion leaders of any other category.
• They are sought for information about innovations, and their advice is valued. Those
in this adopter category have the respect of others in the community because of their
success and willingness to try innovations.
EARLY MAJORITY
• Includes people who do not wish to be the first to adopt new technologies or new ideas;
instead, the early majority prefers to deliberate, often for some period of time.
• These people serve the important function of legitimizing an innovation, or showing the
rest of the community that the innovation is useful and adoption is desirable.
LATE MAJORITY
• Are skeptical and cautious about the benefits of adoption.
• They wait until most of the community has already tried and adopted the innovation
before they act.
• Sometimes peer pressure or social pressures serve to motivate the late majority.
• In other cases, economic necessity induces them to adopt the innovation.
LAGGARDS
• The last to adopt.
• Are tied to the past, to the traditional way of doing things, and are very reluctant to
try anything new.
• Interact with others of the same mindset.
• Once a laggard adopts an innovation, the rest of society may have moved so far
forward that the innovation has become outdated.
 News Values
12 THEMES OF NEWS VALUES TRADITIONAL CATEGORIES OF
NEWS VALUES
1. Timeliness
THRESHOLD 2. Proximity
• The bigger impact the story has, the more people 3. Prominence
it affects, the more extreme the effect or the 4. Impact
more money or resources it involves, the better 5. Currency
its chances of hitting the newsstands 6. Conflict
7. Oddity
FREQUENCY
• Events that occur suddenly and fit well with the newspaper or news broadcast’s schedule
are more readily reported than those which occur gradually or at inconvenient times of day
or night. (i.e. motorway pile-ups, murders, and plane crashes)
NEGATIVITY
• Bad news is more newsworthy than good news. Stories about death, tragedy, bankruptcy,
violence, damage, natural disasters, political upheaval, or simply extreme weather conditions
UNEXPECTEDNESS
• Unpredictable events (natural disasters, accidents, or crime) can also more likely have
significant news values. If an event is out of the ordinary it will be more likely to make it into
the news than an everyday occurrence would
UNAMBIGUITY OR SIMPLIFICATION
• Summaries or simplified stories are likely to be featured than stories that are difficult to
understand. Events that are easy to grasp make for better copy than those which are open to
more than one interpretation, or where the understanding of the implications depends on first
understanding the complex background to the event.
PERSONALIZATION
• People are interested in people. News stories that center on a particular person, and are
presented from a human interest angle, are likely to make the front page, particularly if they
involve a well-known person
MEANINGFULNESS
• Relates to cultural proximity and the extent to which the audience identifies with the topic
ELITE COUNTRIES
• Famine, drought, and natural disasters are more likely to draw attention if they are happening
in “First World” countries than if they are happening in developing countries. Stories concerned
with global powers receive more attention than those dealing with less influential nations. This
also relates to cultural proximity. Those nations which are culturally closest to our own will
receive most of the coverage
ELITE PEOPLE
• Social status of the topic: politicians, entertainers, athletes are more newsworthy
 CONSONANCE
• Stories that match the media’s expectations receive more coverage than those which
contradict them. It also refers to the media’s readiness to report an item, which they are more
likely to do if they are prepared for it. Indeed, journalists often have a preconceived idea of the
angle they want to report an event from, even before they get there.
CONTINUITY
• Circumstances such as war or events such as elections, protests, and strikes, require
continuing coverage. These are likely to remain in the news for a time but not always as the
lead story. A story that is already in the news gathers a kind of momentum; the running story.
COMPOSITION
• Editors balance different types of stories on a page. A minor news article might be chosen
over more serious news if the headline is already very somber. This is a matter of the editors’
judgment, more than anything else.

CONFLICT-SENSITIVE

JOURNALISM
In countries affected by conflict and severe human insecurity, the media have an
important role to play as an active promoter of human rights and democratization, as well as a
facilitator of conflict reduction and resolution through the gathering and dissemination of non-
partisan information.
The traditional role of “good” journalism is to enable the public to make well-informed
decisions. However, good journalism is difficult work at the best of times. In a society threatened
by violent conflict, journalists face much greater difficulties. They operate in a climate of fear
and threats and with opposing sides seeking to control the media.
But covering a conflict is also when good journalism is most important. In conflict
situations, the role of the media is critical in provid ing the public with full, reliable, and non-
partisan information. The approaches and methods of conflict-sensitive journalism allow the
media to provid e the public with more comprehensive, neutral, and accurate information on the
conflicts.
CSJ STRESSES FOUR KEY CONCEPTS
1. Truth-seeking
2. Active accuracy
3. A focus on relevance and good writing
4. Recognizes access to information, freedom of expression, and the safety and security of its
practitioners as requisites

Advertising Appeals
ADVERTISING
– involves the paid use of media (print and electronic)—in terms of time or space—to
promote a message, service, or product

2 TYPES OF ADVERTISING
COMMERCIAL ADVERTISING
– promotion of a person, product, service, or company to generate sales
 SOCIAL MARKETING
– promotion of messages and services that benefit the public
COMBINATION OF BOTH
– promotion of both the advocacy and the brand
Both forms of advertising constitute the primary source of revenue (profit) for traditional and
new media. Advertising pays for:
• Operating costs and development of content
• TV Programs
• Website Material
• Magazine Articles
• Radio Programs

DEMOCRACY AND FREEDOM

Without this revenue, most private media companies, which form a part of a central
advocating mechanism for democracy and freedoms such as the choice we enjoy, could not
survive
The Philippine government currently has ownership claims over three television stations
and one radio network: PTV 4, RPN 9 (now CNN Philippines) where the government still has 20%
share, and IBC 13

CUSTOMER PROFILE
DEMOGRAPHICS PSYCHOGRAPHICS
• Age • Income • Personality
• Race • Other • Interests
• Sex stats • Political persuasion

AIDA THEORY
Advertising will only have a few seconds to influence someone, so a good ad uses the
following formula
ATTENTION (AWARENESS)
– attract the attention of the customer
INTEREST
– raise customer interest by demonstrating features, advantages, and benefits
DESIRE
– convince customers that they want and that it will satisfy their needs
ACTION
– lead customers towards taking action and/or purchasing

ADVERTISING APPEALS
MORAL APPEALS (ETHOS)
– directed to the consumers’ sense of what is right and proper
– used to exhort people to support social and ethical causes
 LOGICAL/RATIONAL APPEALS (LOGOS)
– focus on the consumer’s need for practicality and functionality in a product
• Facts and Stats • Performance Minted
• High Quality • Easy to use
• Low Price • Scarcity
• Long Life
EMOTIONAL APPEALS (PATHOS)
– related to an individual’s psychological and social needs for purchasing certain products and
services
Instinctive Needs Cultural Values
• Fear-survival, security, health, death, • Bandwagon- pop culture trends, humor,
guilt, or shame music, entertainment
• Positive or feel-good/sentimental- • Aspiration- value, success status,
altruism, belonging, love, family, snob, sexual, youth, masculine/feminine
nostalg ia, romance, music beauty, endorsement, adventure,
• Desire- sex, curiosity, adventure convenience

Evolution of Media
PRINT MEDIA
PRE -EMERGENCE STAGE
• The Chinese were the first to invent the wooden blocks to print letters
• Wooden blocks were started during the period of the Tang Dynasty in 600 AD
• Though the Egyptians made paper called Papyrus by 3500 BC, it came to Europe only by the
11th century

Emergence to entrepreneurial stage

• 7th to 13th Century: The Age of Relig ious “Manuscript” book production
• 13th to 15th Century: The Secularization of book production = Rise of the universities
• 15th to 16th Century: Invention of the printing press = First printed books

BREAKTHROUGH / MASS MEDIA STAGE

• 16th to 18th Century: New information is put into books that has important consequences for
European life and society
Rise of the periodical press: newspapers and magazines
○

Book trades flourished in Europe and America

○

Spread of education and literacy to the middle classes especially the women
○

People started reading for pleasure; especially women

○

CULTURAL IMPACT OF BOOKS

• Books are ideas, philosophies, knowledge preserved through time, but note that this
information is from the intellectual elite
• Books are not only sources of information, but they have served as symbols of rebellion,
propaganda for political movements, and even weapons of war
 • They’ve been censored, locked up, trampled, burned, but they’ve also been respected and
even worshipped
• Books do not have advertisements, their content is unsullied by influence and effects of
profit
• But because books need to be sold in order for the publication to continue, entertainment
“books” are given priority instead of knowledge books

CULTURAL IMPACT OF NEWSPAPERS

• They provide quick information about events worldwide
• But newspapers, like books, are also written by an elite bourgeoise
• They have also been used as vehicles for propaganda
• They have helped shape public opinion; persuaded the common folks
• Newspapers used to be sustained by retail sales
• When competition came, publishers and journalists ventured into sensationalism to sell
their newspapers
• Newspaper sales declined when radio become popular
• So publishers now had to rely on advertisers for sustainability which affects the integrity
of their content

THE MAGAZINE: A STOREHOUSE OF STORIES

• In 1731, The Gentleman’s Magazine was the first to use the term “magazine,” on the
analogy of a military storehouse
• It was the first general-interest magazine. It contained essays, poems, stories, and
political musings

CULTURAL IMPACT OF MAGAZINES

• The first magazines were basically simplified versions of the books
• At first, they were also for the elites but later on became more targeted to common folks
because of advertising
• Asid e from information, magazines capture the trends of a time—the Zeitgeist or the
essence of an era
• Magazine covers usually tell us the zeitgeist of that time
• Creative advertising really flourished in magazines because of good photography and
graphic design which is not present in newspapers
• Unlike newspapers, magazines do not report events but instead editorializes them
• The longer production process of magazines allows it to reflect the cultural happenings of
the time—capturing it like a zeitgeist

Radio
• During the 70s-90s, young people generally listened to the radio for social connection; how
they participate in the media culture
• This further demonstrates the homogeneity of media before the internet

CULTURAL IMPACT OF RADIO

PRE-WAR (the 1930s)
• Radio was the center of the home
• Source of all entertainment
• War of the Worlds Incident
 WW2 (the 1940s)
• Radio was used by government and monarchs as platforms for propaganda and public
service message
• Speeches by US President Roosevelt and King George of the UK lifted the patriotic spirit
of the people
POST-WAR (the 1950s)
• The birth of TV threatened radio
• Cars and Rock n Roll saved radio
POST-WAR (the 1960s)
• Talk Radio and News Formats became popular
• Ratings are now a priority
POST-WAR (the 1970s)
• Top 40 Countdowns paved the way for the DJ (Disc Jockey) to become an important part
of society
• Mr. DJ, may I make a request?

IN1. Popular
THEformats
PHILIPPINES
were:
a. Panawagans
b. Love Advice
c. Health Advice
d. Trivia or knowledge
e. Requested songs
2. Hard-hitting commentators and no-holds-barred discussion
3. Radio played a big role in EDSA 1986 People Power Revolution

Evolution of Media BROADCAST MEDIA

TELEVISION
– a telecommunication medium used for transmitting moving images in monochrome (black and
white), or in color, and in two or three dimensions and sound

DEVELOPMENT OF TELEVISION
THE 1990s
• Philo Farnsworth showed his teacher his idea to bring image and sound in a small box
1928
• Farnsworth constructed the first electronic television—his system captured moving
images using a beam of electrons
1929
• Vladimir Zworykin built the Kinescope (telerecording) and Iconoscope (first practical video
camera tube), which made television system practical
 • RCA President David Sarnoff Attended Zworykin’s presentation of Iconoscope. He invited
Zworykin to develop television for RCA
THE 1930s
• Zworykin started working for Sarnoff and the patent battle between Farnsworth and
Zworykin began. Sarnoff demonstrated TV to press
• The first wireless commercial TV introduced at the 1939 World’s fair.
• Notable 1936 Oly mpics in Berlin where Hitler announced the opening.
THE 1940s
• Production of TV has stopped, innovation didn’t. Post-war, stronger economy, boom in TV
Production
THE 1950s
• Tech was already developed and standardized, now it’s time to polish content. Vaudeville
(from stage-radio) now transferred to television. Starts go for TV
• TV was the center of the home.
• Filipino TV started in 1953 upon the first commercial broadcast made by Alto
Broadcasting System (now ABS-CBN)—the 1st Southeast Asian country and the second
in Asia to do so

TELEVISION CONTENT
THE 1950s: AGE OF INNOCENCE
• Perfect-looking families, “soap” opera from advertising boom, TV dinners, conservative:
couples slept in separate beds
> The Lone Ranger, ABC (1949-1957)
> I Love You Lucy, CBS (1951-1957)
THE 1960s: INTEREST IN NEWS
• People got interested in the news because of conflicts around the world: Vietnam War, the
space race between Russia and the US, assassinations
THE 1970s: SEXUALITY
• Women empowerment in TV shows such as Wonder Woman (1975-1979) and Charlie’s Angels
(1976-1981)
THE 1980s
• Sitcoms shot in sets, VCRs, and game consoles, MTV music television, cable television,
nighttime soaps, late shows, Saturday morning cartoons to sell toys
THE 1980s: REALITY TV
• The beginning of reality TV that shows relationship drama, crime, sex scandals, MTV’s
The Real World, the intro of homosexual characters, coming out

TV– aTROPES
story genre device, a shortcut for describing situations the audience will easily recognize
– because TV is free compared to film, its audiences’ literacy range is wider and perhaps lower
– TV audiences are comfortable with story patterns
– examples: twins or triplets separated at birth, poor girl marries a rich man
FILM
– first used to describe a thin, flexible, light-sensitive material that retains an image after it is
exposed to light
– a medium used to stimulate experiences that communicate ideas, stories, perceptions,
feelings, beauty, or atmosphere by the means of recorded or programmed moving images
along with other sensory stimulations

DEVELOPMENT OF FILM AND CINEMA

The development of Film and Cinema is grounded on the invention of three technologies:
• The Camera: 1816, Nicephore Niepce
• The Film: 1884, George Eastman
• The Projector: 1889, Thomas Edison
The history and development of film has two stands
• American
• European
1889
• Thomas Edison and his team develops projection with sound; since quality is poor, Edison
opts for silent, individual showings of films
• He calls this the Kinetoscope, then later on developed the Vitascope
• Edison also contributed sprocket holes on film for the projector
1895
• The Lumiere Brothers tinkered with Edison’s Kinetoscope
• They designed their own machine within a year called the Cinematographe
• First theatre opens to the paying public in a basement of a Paris cafe where they showed
> Workers leaving the Lumiere Factory
> Arrival of the train
> A Baby’s Meal
THE SILENT ERA
• New York (Queens) led early filmmaking
• By the 1920s, Hollywood emerged as the world’s film leader
> Almost 800 films a year
> Great climate and room to work
• Era dominated by Charlie Chaplin, Buster Keaton, Douglas Fairbanks, and Clara Bow
• Dalagang Bukid (1919) becomes the first Filipino silent film directed by Jose Nepomuceno.
Like all of Nepomuceno’s works, however, Dalagang Bukid is now a lost film
TALKIES
• Al Jolson’s The Jazz Singer (1927) was the 1st film with sound with the use of the
Vitaphone system
• By 1929, almost all films were “talkies” and many silent film stars and directors couldn’t
adapt
• Started the Golden Age of Hollywood that lasted until the 1950s
THE GOLDEN ERA OF HOLLYWOOD
• The 1st Academy Awards were given out, the Oscars was held in Hollywood, and the 1st
full-length all color films are released (1929)
• Movies thrived during the Great Depression (for the elite) since films offered realism or
escapism
> King Kong, 1933
> Snow White and the Seven Dwarfs, 1937
 > Gone with the Wind, 1939
> The Wizard of Oz, 1939
> Citizen Kane, 1941
> Casablanca, 1942
THE 1950s
• The Cinema fights back
• Decline in popularity led to innovations to lure audience back
• Alfred Hitchcock and his mystery-thrillers
• More color, wide angle shots, 3D Films, sex appeal, and epic films
> The Ten Commandments, 1956
> Ben-Hur, 1959
> Spartacus, 1960
THE 1960s
• Hollywood declines more
• More films made on location
• Still family-oriented early in the decade
• Innovators led to a rekindling of film
> Dr. Strangelove, 1964
> The Graduate, 1967
> 2001: A Space Odyssey, 1968
> Midnight Cowboy, 1968
> Easy Rider, 1969
• Led to a New Hollywood
THE 1970s AND THE NEW HOLLYWOOD
• A new breed of formally-educated filmmakers emerged
> Francis Ford Coppola, Steven Spielberg, George Lucas, and Brian de Palma
(classmates)
> The Godfather, 1972
> The Exorcist, 1973
> Jaws, 1975
> Star Wars, 1977
> Animal House, 1978
• Jaws and Star Wars led to blockbuster films
• Violence on screen
THE 1980s AND THE SEQUELS
• Blockbusters continue to be made
• The industry has adapted to home-viewing: VCR
• Dig ital effects
• More sequels, remakes, and adaptations
• Independent films gained larger audiences
THE 1990s
• In 1990, Time Inc. and Warner Communications join the Time/Warner company, becoming
the biggest media merger to date
• In 1994, DreamWorks by Steven Spielberg was formed and became known for The
Peacemaker (1997), Amistad (1998), Mouse Hunt (1998), and Saving Private Ryan (1998).
• In 1994, animated Lion King is released
• Toy Story, the world’s first computer animated film came out in 1995, and it was a huge
financial success
• In 1998, A Bug’s Life is released, and its popularity skyrockets
 THE 2000s TO THE PRESENT
• Age of Advanced Special Effects, CGI, and Performance Capture
• Era of Franchise Films
> Lord of the Rings
> Harry Potter
> Marvel Cinematic Universe

TYPES OF FILMMAKING APPROACHES

REALISM
– film that focuses on the rawness
– dedicated to showing the unfiltered world
• Nonprofessional actors (with exceptions)
• No special effects
• On locations sets and props
• Minimal editing
• Natural lighting
• Documentary style
CLASSICAL
– falls between the two extremes of realism and formalism
– wants to emphasize authentic moments between real people but with the manipulation of
its creative production elements
• Professional Actors
• Minimal or no special effects
• On location or in studio
• Editing used for time-lapse
• Lighting and sound used to create a mood
FORMALISM
– focuses on the director bringing the audience to an altered reality that they’ve created
– every Guillermo Del Toro, Superhero, Star War, and most modern movies
– seeks to show us a completely artificial world
– why we go to the theater and are also responsible for the rise in animation for adults

FILM AMIDST THE COVID-19 PANDEMIC

• COVID-19 has upended the global film industry, halting film production and closing cinemas
• The pandemic is accelerating the ongoing transformation in movie production, distribution
and consumption: (gov’t protocols, online releases)
• Releases of expected Blockbuster films like Mulan, Tenet, Wonder Woman 1984, and the
MMFF 2020

Development of New Media

INTERNET, CONVERGENCE, AND DIGITAL CITIZENSHIP

EVOLUTION OF MEDIA AND COMMUNICATION

PREHISTORIC AGE
• Cave paintings and Oral Traditions (bonfire stories)
 PRE-INDUSTRIAL AGE INDUSTRIAL AGE (1800S–1930S)
• Wooden blocks from China • Telephone
• Papyrus from Egypt • Wireless Telegraph
• Actu Diurna (Stone and Metal tablets) from Rome • Radio
• Mayan Codex • Film
PRE-INDUSTRIAL AGE (1500S–1700S) ELECTRONIC AGE (1940S–1990S)
• Gutenberg Printing Press • Television
DIGITAL AGE (2000S–PRESENT)
HOW THE INTERNET BEGAN • Also called the New Media age because it
is still developing
COMMUNICATION TECHNOLOGY
• After WW2, the US was anxious about an upcoming nuclear war
• The military had to solve the issue of protecting data and intelligence and uninterrupted
communication
SHARED KNOWLEDGE
• Later, the technology was further developed so that research and development can be
pursued by universities through global library access
DATA PROCESSING
• At this point, room-sized computers were installed in offices to process data: keep records
and compute numbers

NOTABLE NAMES
BILL GATES & STEVE JOBS
• Founder of Microsoft and Apple respectively
• Thanks to Microsoft and Apple, we have computer screens that have multiple open windows
and user-friendly interfaces—making it easier for anyone to use
LARRY PAGE & SERGEY BRIN
• Founder of Google
• Google was their Ph.D. research project at Stanford University
• Their goal was to organize cluttered information on the internet (search engine)
MARK ZUCKERBERG
• Founder of Facebook
• His goal was to connect students in the university (social network)

NEW MEDIA
EMERGENCE
• Inventors and technicians try to solve a particular problem
ENTREPRENEURIAL
• Inventors and investors determine a practical and marketable use for the new device;
often for government or warfare use
MASS MARKET/BREAKTHROUGH
• Businessmen or corporations figure out how to market the new device or medium as a
consumer product
 CONVERGENCE
• Old er media are reconfigured in various forms on newer media; in dig ital version

NEW MEDIA CONVERGENCE

TECHNOLOGICAL
• When separate technologies combine to form a hybrid
INDUSTRIAL
• When media companies merge to combine assets for increased profit
SOCIAL
• When communication platforms are connected giving more power to the content creator
TEXTUAL
• Also called Transmedia Storytelling; from adaptations to brand expansion

ISSUES PRODUCED BY NEW MEDIA CONVERGENCE

SECURITY & GOVERNANCE
• Before, different media were subject to different levels of regulation based upon whether
they were distributed in public or consumed in private (censorship & age-appropriateness for
children viewers). In the 21st century, content is now accessible in dig ital form across multiple
devices NO HOLDS BARRED. As of date, laws are still being updated but due to the tedious
bureaucratic nature of law-making, it cannot catch up with the swift progress, development,
and innovation of the technology.
TECHNOLOGICAL DETERMINISM
• It is the id ea that machines and their development that drive economic and cultural change.
• Those who believe in technological determinism would argue that these changes in the
cultural landscape were the inevitable result of new technology. But others see technology as
more neutral and claim that the way people use technology is what it gives significance.
• This perspective accepts technology’s influence as one of the many factors that shape
economic and cultural change; technology’s influence is ultimately determined by how much
power it is given by the people and cultures that use it. This disagreement is the heart of the
debate whether we are all powerless in the wake of advances in communication `technology.
MEDIA MONOPOLY, GLOBALIZATION, AND DEMOCRACY
• Media Monopoly is when the media is too concentrated and too few people own too much.
• Media globalization is the worldwide integration of media through the cross-cultural exchange
of id eas
• Media democracy is a democratic approach to media studies that advocates for the
reform of mass media to strengthen public service broadcasting and develop participation in
alternative media and citizen journalism in order to create a mass media system that informs
and empowers all members of society and enhances democratic values.
AUDIENCE FRAGMENTATION
• Division of audiences into small groups due to the wide spectrum of media outlets. This
is a situation that becomes increasingly baffling to advertisers as the specialization of
publications and broadcast opportunities becomes even more diverse
• If the nature of media’s audience is changing, then the mass communication process must
also change. The audience in mass communication is typically a large, varied group about
which the media industries know only the most superficial information.
 HYPER-COMMERCIALISM
• Because of Audience Fragmentation, selling more advertising on existing and new media and
id entifying additional ways to combine content and commercials are the two most common
strategies. This leads to “hyper-commercialism” which is the sheer growth in the amount of
advertising. But the increased mixing of commercial and non-commercial media content is
even more troubling.

DIGITAL CITIZENSHIP
CITIZEN
– legally recognized subject and inhabitant of a particular state, either native or naturalized
(immigrants)
– entitled to enjoy all the legal rights and privileges granted by the particular state to its people
comprising its constituency
– obligated to obey its laws and to fulfill your duties as called upon
– with dig ital citizenship comes rights to claim and rules to follow as well

4 TYPES OF DIGITAL CITIZENS

DIGITAL NATIVES
– refer to persons born or brought up during the age of dig ital technology and therefore
familiar with computers and the Internet from an early age
DIGITAL IMMIGRANTS
– individuals who were born before the widespread adoption of dig ital technology
DIGITAL FUGITIVES
– people who are aware of the new technology but refuse to adopt it
DIGITAL ALIENS
– those who are totally unaware of the new technology but may be willing to adopt if given the
chance

9 ELEMENTS OF DIGITAL CITIZENSHIP

DIGITAL ACCESS
– the equitable distribution of technology and online resources
DIGITAL COMMERCE
– the electronic buying and selling of goods and focuses on the tools and safeguards in place
to assist those buying, selling, banking, or using money in any way in the dig ital space
DIGITAL COMMUNICATION & COLLABORATION
– the electronic exchange of information
DIGITAL ETIQUETTE
– refers to electronic standards of conduct or procedures and has to do with the process of
thinking about others when using dig ital devices
DIGITAL FLUENCY
– the process of understanding technology and its use
 DIGITAL HEALTH & WELFARE
– refers to the physical and psychological well-being in a dig ital world
DIGITAL LAW
– refers to the electronic responsibility for actions and deeds and has to do with the creation
of rules and policy that address issues related to the online world
DIGITAL RIGHTS & RESPONSIBILITY
– are those requirements and freedoms extended to everyone in a dig ital world
DIGITAL SECURITY & PRIVACY
– the electronic precautions to guarantee safety

The Power of Social Media

SOCIAL MEDIA
– mobile and web-based technologies to create highly interactive •
PLATFORM PARADOXES
Multiplicity of Voices
platforms via which people share, co-create, discuss, and • Multiplicity of Reality
modify user-generated content • Social Media Richness
– everyone is a producer of content and a consumer at the same • Social Media Fatigue
time; giving individuals the capacity to initiate change

OPPORTUNITIES AND CHALLENGES OF SOCIAL MEDIA

VIRTUAL PRINTING PRESS & BROADCASTING
• Anyone can publish online and for free, which means that content is diverse, unique, and
frequently controversial
Challenges

FREEDOM OF EXPRESSION GONE WRONG

• It is becoming unsafe as abuse, terrorism, hate speech, and discrimination thrive
IDEALISTIC VERSIONS
• Social media platforms allow one to cover up and edit the truth, replacing it with
their own idealistic version
• “Why don’t I look like her?” “Why is she so pretty?” “Why does her life seem so
perfect?”
• People are becoming more focused on the opinions of their peers than ever before
ONLINE ACTIVISM
• It enables faster communication by citizen movements and the delivery of local information
to a large audience
Challenges
• Content shared on these platforms can sometimes contain harmful images in order
to get a shock value from the audience. This can be particularly upsetting to young
children – so it’s important to take practical steps to manage what they see online
where you can.
 • There have been instances where these have been fake and have therefore
caused the spread of misinformation, hate speech, and also fraud. The spread of
misinformation highlights the lack of experience, knowledge, and naivety in young
people in social media activism.
TRANSPARENCY
• Broadly speaking, it implies openness, communication, and accountability
Challenges
• We share a part of our lives with the public. But ask yourself these:
○ Why do you need to post it?
○ Why does the world need to know?
• When we’re so heavily involved in social media that we’re oversharing, we’re playing
a game where we compare our lives to others. This is known as social comparison. It
can lead to depression, low self-esteem, and jealousy.
POLITICAL POWER
• It empowers citizens to make informed choices during election
Challenges
• Many think technology has made people better informed – but also easier to
manipulate, leading to a rise of misinformation
• Dig ital Participation does not reach the whole population. Not every citizen has a
smartphone, computer, or even a stable connection to the internet. Rural areas
lack the dig ital infrastructure necessary for regular dig ital participation.
NEW CONSUMER POWER
• It helps us make purchasing decisions because of social authentic online reviews by real people
Challenges
• Viruses. A malicious link, site, or ad could easily infect your machine with viruses and
malware.
• Scams. Bogus “sales” can trick you into paying for something you’ll never receive,
or into buying fake/counterfeit items.
• Stolen account credentials. The email account and password associated with your
purchase could be compromised. (And if you use those same credentials elsewhere,
hackers can gain access to those accounts, too.)
• Stolen financial information. Credit card information and bank information could
give hackers full access to your finances.
• Stolen identity. If more personal information is breached, you could fall victim to
id entity theft.
CROWDSOURCING
• It is obtaining needed services, ideas, or content by soliciting contributions from a large group
of people
Challenges
• A great number of off-target responses
• Lack of respondents expertise
• Time & money required to evaluate all answers
HALO EFFECT
• It is the cognitive bias in which an observer’s overall impression of a person, company, brand,
or product influences the observer’s feelings and thoughts about that entity’s character or
properties. We want to look good, be associated with/be near those who look good or famous
 Challenges
• This effect doesn’t just affect our perceptions of people based on their
attractiveness. It can also encompass other traits as well. People who are sociable
or kind, for example, may also be seen as more likable and intelligent. The halo effect
makes it so that perceptions of one quality lead to biased judgments of other
qualities.
15 MINUTES OF FAME
• It is the short-lived media publicity of an individual or phenomenon
• Challenges, memes, viral posts (or even when we receive more likes and reactions on our
posts than usual), among others, become famous “for a while” and then regresses
• “In the future, everyone will be world-famous for 15 minutes.” –Andy Warhol
Challenges
• Vanity drives people nowadays and what is critical is transforming 15-minutes of
fame into something worthy and reasonable.
• The concept of 15-minutes of fame can be a world-changing event. The elemental
notion from the medieval times that speaks to attention and the greed for power
has transcended to contemporary times in the form of followers and likes count.

PEOPLE IN MEDIA
– people working in the media industry or in a company related to producing content
GATEKEEPERS FRONTLINERS
• The ones who control content • The ones who deliver the controlled content
○ Media Company Owners ○ Anchors
○ Producers ○ Reporters
○ Directors ○ Celebrities
○ Scriptwriters ○ TV Personalities
○ Paid Endorsers

PEOPLE AS MEDIA
– people (public) becoming the media itself because of the Virtual Publishing concept
• Key Opinion Leaders
• Dig ital Influencers
• Citizen Journalists
• Bloggers/Vloggers
• Internet Trolls