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Digital iMedia
| Term | Definition |
|---|---|
| Production | This is the making of a media product and includes the full production process from preproduction to postproduction. |
| Specialist Providers | These are media companies that produce and distribute products within a specific medium such as film, television and video games. |
| Conglomerate Structure | In a conglomerate, one overall parent company owns a number of smaller companies called subsidiaries. Each of a conglomerate’s subsidiary businesses runs independently but supports the wider goals and objectives of the parent company. |
| Independent Companies | Companies that are free from the control of a conglomerate. Independent companies usually specialise in producing one type of media product or service. |
| Joint Venture | This is when a media company works with another company on a project that is mutually beneficial for both parties. |
| Distribution | This includes two elements: firstly, how a product or brand reaches an audience (for example, via web, cinema, television, and so on) and secondly, its marketing and promotion |
| Public Service Broadcaster | A company that delivers services beneficial to the public interest. |
| Cross-Media | A conglomerate that produces more than one type of media. |
| Vertical Integration | This is where a media company has the ability to control the production, distribution and, in some cases, the exchange of a product. It is sometimes also known as the value chain. |
| Horizontal Integration | This is when a media company utilises the assets of its subsidiary companies to support the marketing process of a major product or brand. |
| Video on Demand (VoD) | When TV programmes, films and other media such as video games are available for audiences to watch online via a service such as YouTube or Netflix. |
| Synergy | The increased efficiency and profit that occurs as a result of vertical and horizontal promotion. Conglomerates are formed to create synergy in order to cross-promote. |
| Cross-media ownership | This is when a media institution owns two or more companies that specialise in different media sectors. |
| Traditional advertising | Methods of advertising that have been used by media producers to promote products for many years before the digital age. These include print media advertising. |
| Narrowcast channels | Television channels that distribute specialist interest content. |
| Web 2.0 technologies | A phrase coined by Tim O’Reilly and Dale Dougherty (2004), and known as the ‘second phase’ of the internet, where web pages and technologies are interactive and collaborative. |
| Above-the-line advertising | Where mass media is used to promote brands and reach out to the target consumers. These include conventional media such as television and radio advertising, print and the internet. |
| Below-the-line advertising | A more onetoone form of advertising that involves the distribution of pamphlets, handbills, stickers, promotions, brochures placed at point of sale, roadside banners and placards. |
| Technological convergence | The coming together of information and communication technologies in order to create new ways of producing and distributing products and services to media audiences. |
| Black Box | This is one device, such as a smartphone, that supplies us with all of our information communications technology (ICT) and media requirements. |
| Downloading | When media products are transferred to a device from a web page and consumed offline. Very often radio shows or audio products are downloaded as podcasts, which are audio files generally in mp3 or wav formats. |
| Streaming | The way in which media products are consumed online, usually through video/audio ondemand sites. |
| Simulcasting | When a media product is broadcast both online and via a traditional medium at the same time. In terms of TV programmes it can also mean when a programme, such as a big sporting event, is shown on two channels at the same time. |
| Codes and conventions | The familiar and predictable forms and techniques used by producers when creating media texts. |
| Genre | A specific type of media text. There are also hybrid genres, which are a mixture of two or more main genres and subgenres, which are genres within genres. Subgenres share elements of the main genre. |
| Verisimilitude | How real the world of the story or narrative of a fictional media product appears to the audience |
| Diegetic world | The fictional world (time and place) of the narrative. |
| Juxtaposition | The placing of one element next to another to create a specific meaning. |
| Mode of address | The way in which a media product speaks to or attracts its audience. |
| Denotation | The literal meaning of a code, sign or generic convention of a media text or product. |
| Connotations | The suggested, possible meanings of any given denotation. |
| Masthead | The title of a publication as it appears on the front cover, and associated design elements that make it recognisable. |
| Anchorage | Pinning down the meaning of a media text by use of words and sound. A front cover of a magazine, for example, will have cover lines to tell the audience who the main image is depicting. |
| Representation | How different groups of people, ideas and ideologies are portrayed by the media. |
| Narrative theory | Theory about the ways in which stories are structured in order to create meaning for the audience. |
| Genre theory | A critical tool that helps us study texts and audience responses to texts by dividing them into categories based on common elements. Genre theory discusses why and how both audi |
| Stereotypes | A generalised, oversimplified version of a group of people. They are used by the media in order to target audiences and to enable audiences to identify and understand the content of products. |
| Mainstream audience | An audience that consumes a product that appeals to a wide range of age groups and cultures. |
| Niche audience | The audience of a specialist interest media product that may only appeal to a small number of people or those that fall within a specific demographic profile (for example, ethnicity or age). |
| NRS social grades | A method of classifying demographics based on occupation and income, developed by the National Readership Survey (www.nrs.co.uk). |
| RAJAR | The acronym for Radio Joint Audience Research, which collates listening figures for over 300 radio stations across the UK (www.rajar.co.uk). |
| BARB | The acronym for the Broadcasters’ Audience Research Board, which collates viewing figures for all the major UK broadcasters such as BBC, ITV and Sky (www.barb.co.uk). |
| Demographics | When media producers study the breakdown of their target audiences based on variables in age, ethnicity, gender, economic status or class, level of education, hobbies and interests, and lifestyle choices. |
| Imaginary entity | A term that suggests media producers have a specific audience member or demographic in mind before they plan a media product. |
| Psychographics | Profiling of audience members based on their personal beliefs, values, interests and lifestyle. |
| Audience profile | The specific demographic variables of an average target audience member for a given media product based on age, gender, income, ethnicity and interests, that makes them desirable to advertisers and commercial companies. |
| Geodemographics | A profile of audience members based on the area where they live and how much they earn. |
| Primary research | Research that has been undertaken by you personally in order to gain new data. This is also known as first-hand research. |
| Market research | The activity of gathering information about audience needs and preferences, conducted by a media producer or institution. |
| Qualitative data | Typically descriptive data, useful for studies at the individual level, and to find out, in depth, the ways in which people think about a product. |
| Quantitative data | Data that can be measured numerically. Things that can be measured precisely, such as the number of people who listen to a radio station or who have purchased a video game online. |
| Secondary research | The use of data or findings from research that has already been undertaken. |
| Circulation | The number of people who purchase a print product. |
| Readership | The number of people who read a print product as part of secondhand consumption. |
| Gap in the market | The identification of a group of potential customers who are not yet purchasing a product, or the realisation by an institution that there is a need for a new type of product or brand. |
| Audience feedback | When the audience provide a media producer with feedback about a product or brand. This is done through market research instigated by the producer or by the audience members themselves giving feedback via Web 2.0 technologies. |
| Competitors | Media institutions, products or brands which are direct rivals against each other (for example, Global Media’s Capital Yorkshire and Bauer Media’s Hallam FM stations). |
| Market possibilities | The ways in which institutions believe their brand or product can expand into another medium as a crossmedia product or spinoff. |
| Media effects debate | The academic and social debate as to whether media has a negative impact on audience members. |
| Passive audience theory | A collection of academic viewpoints that stress that audiences are unable to reject media messages and are subject to negative effects from the media they consume. |
| Desensitisation | The idea that prolonged exposure to violent images numbs the effect of them. The more you become accustomed to violent images, the less likely they are to have an impact on the audience. |
| Moral panic | An instance of public concern or ‘panic’ in response to a media product that is regarded as threatening to certain groups or debasing agreed moral standards within society. |
| Active audience theory | The argument that media audiences do not just receive information passively but are actively involved, often unconsciously, in making sense of the message within their personal and social contexts. |
| Media regulation | The control or guidance of media content by governments and other bodies. This means media production and consumption are monitored. |
| Censorship | Keeping material from an audience. Such material includes graphic images, speech or ideas which may be considered harmful, sensitive or offensive to audience members. |
| Classification | The decision made about the suitability of a media text for a particular age range after the content has been viewed by regulators. The classification will be in the form of an age certificate. |
| User-generated content | Content created by nonprofessionals who then distribute their work online. |
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connormccutcheon
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