| List of figures |
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xi | |
| Preface |
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xv | |
| Figure acknowledgements |
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xvii | |
| Introduction |
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1 | (26) |
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What do we mean by 'the media'? |
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2 | (1) |
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Worksheet to determine media consumption patterns |
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3 | (5) |
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Why are the media important? |
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8 | (7) |
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15 | (11) |
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26 | (1) |
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26 | (1) |
| PART 1: READING THE MEDIA |
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27 | (80) |
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27 | (15) |
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27 | (1) |
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28 | (3) |
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31 | (2) |
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33 | (3) |
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Denotation and connotation |
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36 | (2) |
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The process model of communication |
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38 | (1) |
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39 | (1) |
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Worksheet for analysing advertisements |
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40 | (2) |
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42 | (11) |
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42 | (7) |
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49 | (3) |
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Relationship between narrative and genre |
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52 | (1) |
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53 | (8) |
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54 | (1) |
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55 | (2) |
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57 | (2) |
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59 | (1) |
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59 | (2) |
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61 | (9) |
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Media representation of the world at large |
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61 | (1) |
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62 | (3) |
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65 | (5) |
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70 | (8) |
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70 | (2) |
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Parody, pastiche and homage |
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72 | (2) |
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74 | (1) |
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Soap opera and the tabloids |
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74 | (1) |
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74 | (2) |
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Media performers in different media forms |
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76 | (2) |
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78 | (6) |
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78 | (2) |
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80 | (1) |
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81 | (3) |
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84 | (11) |
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The accuracy of the representation |
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84 | (2) |
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Different types of realism |
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86 | (1) |
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86 | (1) |
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87 | (3) |
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90 | (1) |
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91 | (1) |
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92 | (1) |
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93 | (2) |
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95 | (12) |
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Worksheet for analysing title sequences |
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98 | (1) |
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98 | (4) |
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102 | (2) |
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104 | (2) |
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106 | (1) |
| PART 2: MEDIA AUDIENCES |
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107 | (74) |
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Different types of audience |
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107 | (1) |
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Why are audiences important? |
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108 | (1) |
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How have audiences changed? |
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108 | (10) |
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How is audience consumption patterned and determined? |
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118 | (3) |
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121 | (2) |
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'Television doesn't make programmes, it creates audiences' (Jean-Luc Godard) |
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123 | (18) |
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David Morley's Nationwide study |
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141 | (1) |
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141 | (1) |
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142 | (2) |
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144 | (1) |
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The 'effects' debate and moral panics |
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145 | (2) |
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147 | (2) |
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Further work 148 Further reading |
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149 | (2) |
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151 | (30) |
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152 | (6) |
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'The most fun a girl can have with her clothes on!': teenage magazines |
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158 | (7) |
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'She's a woman with responsibility ... and a hangover': women's magazines |
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165 | (4) |
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'All the goss, all the news, every two weeks': Inside Soap |
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169 | (5) |
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Worksheet for analysing magazines |
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174 | (3) |
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177 | (2) |
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179 | (2) |
| PART 3: MEDIA INSTITUTIONS |
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181 | (54) |
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Issues of ownership and control |
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181 | (8) |
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Horizontal and vertical integration |
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189 | (4) |
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193 | (1) |
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194 | (2) |
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196 | (3) |
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199 | (5) |
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204 | (3) |
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British Board of Film Classification (BBFC) |
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207 | (3) |
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Public service broadcasting (PS B) |
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210 | (3) |
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213 | (1) |
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214 | (1) |
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215 | (1) |
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216 | (2) |
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218 | (3) |
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221 | (1) |
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222 | (2) |
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Example: newspaper ownership |
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224 | (11) |
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224 | (3) |
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227 | (1) |
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228 | (1) |
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229 | (2) |
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231 | (2) |
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233 | (2) |
| PART 4: THREE CASE STUDIES |
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235 | (72) |
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235 | (22) |
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235 | (2) |
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237 | (3) |
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240 | (7) |
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247 | (3) |
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250 | (3) |
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253 | (1) |
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254 | (2) |
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256 | (1) |
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Case study 2: advertising and marketing |
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257 | (35) |
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257 | (1) |
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Advertising: institution history |
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258 | (2) |
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260 | (2) |
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Worksheet for analysing the marketing of films |
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262 | (2) |
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264 | (8) |
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272 | (5) |
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Advertising and regulation |
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277 | (1) |
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277 | (1) |
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278 | (3) |
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281 | (1) |
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Arguments in support of advertising |
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282 | (1) |
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Arguments used to criticise advertising |
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282 | (5) |
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287 | (2) |
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289 | (1) |
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290 | (2) |
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Case study 3: the horror genre |
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292 | (15) |
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295 | (1) |
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A sense of the historical |
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296 | (5) |
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301 | (3) |
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304 | (1) |
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305 | (2) |
| PART 5: ESSENTIAL MEDIA SKILLS |
|
307 | (40) |
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307 | (14) |
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307 | (2) |
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309 | (1) |
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Different types of research |
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309 | (3) |
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Carrying out your own primary research |
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312 | (6) |
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318 | (2) |
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320 | (1) |
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321 | (13) |
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321 | (3) |
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324 | (3) |
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327 | (4) |
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331 | (1) |
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331 | (3) |
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334 | (3) |
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Drawing up a revision plan |
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334 | (1) |
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335 | (2) |
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Appendix: sample exam papers |
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337 | (10) |
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337 | (6) |
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343 | (4) |
| Resources |
|
347 | (3) |
| Glossary |
|
350 | (5) |
| Bibliography |
|
355 | (5) |
| Index |
|
360 | |