Presentation on the A2 exam by the principal examiner

Note - The exam date on this presentation is an old date, you exam is on Tuesday 4th June at 13.45.

G325 exam from petefrasers

Media in the Online Age - Film Examples

This is a really interesting article on the impact of piracy on the film industry: http://raindance.co.uk/site/index.php?aid=5078 Headline facts from the article: A report in 2005 for the Motion Picture Association (all the big studios) estimated that the studios lost $6.1 billion a year and that the industry as a whole (theatres, cable tv etc included) lost $18.2 billion. At the time it was estimated that of that $18.2 billion, $7.1 was due to internet piracy. Recently the founders of the hugely popular illegal download website Pirate Bay were found guilty of copyright infringement and are looking forward to a year in gaol. In Australia the film industry has accused one of the country’s largest internet service providers of encouraging pirates, its largest users, to upgrade their packages and turning a blind eye to their download content. http://www.itnews.com.au/News/156648,film-industry-links-isps-best-customers-with-piracy.aspx On the other, friendlier, side of the equation, the Trust for Internet Piracy Awareness in the UK has changed its campaign from the aggressive and accusatory ‘Piracy is Theft’ adverts to a kindlier thank you note for supporting the British film industry by not turning to illegal downloading http://www.guardian.co.uk/media/2009/apr/02/film-piracy There are some that openly call for support of piracy and say it is all part of a call for a censorship free world https://www.adbusters.org/blogs/blackspot_blog/support_online_piracy.html One final major factor that encourages piracy everywhere except in America is the delayed release dates that the rest of the world experience both in cinemas and for DVDs. Films are often available online before they are released in America but once they show in a cinema they are definitely online. A lot of internet buzz surrounding a film released in the US that will not reach Britain for another two months will encourage people to download it and be able to take part in that discussion. Most experts, such as Julien McArdle, who directed a documentary on the issue of piracy, agree that this is one of the most significant changes that could happen. McArdle made his film on a budget of about C$700 and is distributing it for free on the internet. LINK TO DOCUMENTARY http://www.piracydocumentary.com/ With so many reasons to pirate films (the first and foremost of which will always be that it is free) it is no wonder that so many people are doing it. The internet is become such a powerful tool and platform and because it is open and free everyone the pirating community has been able to steal a lead on the film industry. The studios and distribution companies are, however, developing new models to allow them entry into this marketplace. So far companies like Apple have lead the way, selling downloadable films through their existing iTunes store. Other companies are providing similar services and being embraced by the studios; Universal Pictures UK chairman Eddie Cunningham when UK website Wippit started offering permanent downloads in 2006 said "I think what you're seeing here is the beginning of a revolution in terms of how we can distribute digitally and I would expect you'll see a lot more news of this type over the next few months.” The internet has also been embraced as a distribution tool by the independent filmmaking community. Downloading a film is cheap and simple and obviates the need for DVD burning and postage. It allows easy access to a global audience makes marketing and interaction with audiences a very fluid networked affair that can be very effective for the independent film. There is general agreement however, that not enough has yet been done for the model of legitimate film downloading. Many different people have as many different ideas about it’s future. The basic split between them is whether you try and provide movies for free or not. Some promote the Spotify model of where you can stream but not download songs for free and accept adverts every five songs or so. Quite how this would translate into films is not yet known – it works for short films on sites such as Raindance.tv where the advert is played before the film but one advert might not generate enough revenue for a feature and no-one wants their film interrupted. Dominic Wells argues that internet streamed but legally bought films will revolutionise the industry. The hypothetical case study he gives is that of the Bollywood gem trying to find an audience in the states. There are very few places he argues, where the audience population (primarily Indian) is dense enough for it to make financial sense for a cinema to show the film. Spread out across the country, however, are enough audience members to generate a significant profit. By being able to search a database of online films and find this Bollywood gem and then download it to their house for a small fee, this niche audience finds the film it is looking for and the film finds it US audience. This sort of model will rely on superior technology and online infrastruture to that which we have at the moment however. Sky and other cable service providers are beginning to develop the household hub computer/T.V. complete with internet, standard television channels and demandable programming, but it is not quite yet a reality. Once this is in place and download speeds have increased yet further, DVDs will become outmoded and everyone will simply download what they want to watch. Simultaneous release, both internationally and between cinema and home-viewing (i.e. DVD or legal download) is a necessity for this to start happening and, according to Matt Mason, author of ‘The Pirates Dilemma’ says that can’t happen “until DVDs/Blu Ray are well and truly dead and buried” He goes on to say that “we’ll see the studios using file sharing sites more to promote films, and content deals between the studios and torrent sites are already happening.” This model, for my money, is the most likely to prevail. What will be interesting to see is how content is managed on the internet. Which content providers (such as iTunes) gain ascendancy and how will they select films to make available to their subscribers? Studio films will of course have no problem being found but independent films will probably remain somewhat slightly more hidden. I imagine that there will be content providers dedicated to smaller and independent films and internet word of mouth will be used to promote them. Theatrical release will be less common for independent films but people will still be willing to go and pay for the cinematic experience of the bigger, more effects driven studio productions. Film will become a much more home-based experience. Piracy will fade away because it will become simpler and easier, as well as less guilt inducing, to watch the latest releases through the legitimate system.

Media in the online age - music examples

The impact of social networking on the music industry is significant and bands like the Arctic Monkeys and artists such as Lily Allen and Ed Sheeran are examples of the power of social media. There is a radio programme on Wednesday 22nd may at 10pm on BBC radio 2 that is discussing the impact of social media on the music industry, it would be well worth a listen. http://www.bbc.co.uk/programmes/b01nwh32 Napster and Spotify are also good case studies for this theme. Napster - the day the music was set free The digital music revolution started with Napster – the file-sharing service dreamt up by two teenagers in 1999. As a new film tells Napster's story, Tom Lamont recalls the incredible sense of liberation he felt as a young music fan, one of millions happily plundering the world's record collections… In the first weeks of 2000 the founders of Napster were in their office above a bank in San Mateo, California, considering dizzying numbers. Figures scrawled on a whiteboard told how many people around the world had installed their file-sharing application and were using it to download music from each other's computers. As recounted in Downloaded – a documentary soon to premiere at the SXSW film festival, telling the story of a piece of software that came and went and whipped up a new digital music industry in its slip – Napster had 20 million users at the time. Some way from San Mateo, in suburban London I had just become one myself. I was 17, and the owner of an irregular music collection that numbered about 20 albums, most of them a real shame (OMC's How Bizarre, the Grease 2 soundtrack). One day I had unsupervised access to the family PC and, for reasons forgotten, an urge to hear the campy orchestral number from the film Austin Powers. I was a model Napster user: internet-equipped, impatient and mostly ignorant of the ethical and legal particulars of peer-to-peer file-sharing. I installed the software, searched Napster's vast list of MP3 files, and soon had Soul Bossa Nova plinking kilobyte by kilobyte on to my hard drive. "It's difficult to describe to people... how much material was suddenly available," the technology guru John Perry Barlow tells Alex Winter, the director of Downloaded, in his new documentary. Speaking to me on the phone from the US, Winter added: "There was no ramp up. There was no transition. It was like that famous shot from 2001: A Space Odyssey, when the prehistoric monkey throws a bone in the air and it turns into a spaceship. Napster was a ridiculous leap forward." They're right, it was seismic. I was part of the web-straddling generation. The internet, when it came in our teens, was welcome, exciting and fathomable, but it changed things briskly and sometimes bewilderingly. Music was something you bought after protracted debate with friends in the aisles of Our Price, and then, suddenly, songs were accessible from home. They didn't cost anything. We were wilfully blinkered, probably, on the exact details of this last point. I asked colleagues of a similar age what they remembered of Napster's arrival. "The thrill," said one, whose first download was by Smashing Pumpkins, "even when I listened to the music through my mum's tinny computer speakers." Another quickly sought to mine Marlena Shaw's backlist and "couldn't believe it worked". For my part – plundering singles by Artful Dodger, by Semisonic – I have a memory of actually looking over my shoulder. How was this possible? It was as if the door to a bank vault had been left open, no guards in sight. Getting music off the internet before Napster was tricky, unreliable – as someone remarks in Downloaded, "a colossal pain in the ass". Winter says he had "friends who would spend 14 hours trying to pull a Butthole Surfers song offline. And it would fail. And they would try again. And it would fail." In about 1998, someone with the username "napster" revealed to those present in an internet chatroom that he'd been working on a piece of software to fix the problem. It would allow people to dip into each other's hard drives, and share their MP3 music files. (The MP3, devised in the mid 1990s, had become the dominant format for digital audio in the emerging internet age, and has pretty much remained so.) In the chatroom, people scoffed. Share? Why would anyone do that? But Sean Parker, an aspiring entrepreneur, liked the idea. He was 18, skinny, with gelled-up red hair and a tendency to look at the floor when he spoke. Parker suggested they collaborate and he met "napster", or Shawn Fanning, for the first time in person. Fanning was a year younger, an unsmiling boy from Massachusetts who shaved his head against the curled, or "nappy", hair that had earned him his nickname. The term Napster passed, of course, to the piece of software Fanning was coding. Working on a borrowed PC in his uncle's Massachusetts office, sleeping in a nearby utility cupboard in order to conduct days-long programming sessions, Fanning had a finished product by the spring of 1999. Parker, meanwhile, had wheedled $50,000 from investors, and the pair moved to California. Friends from the chatroom were hired as staff, and Napster was launched in May 1999. By October it had 4m songs in circulation. By March 2000 – when, for my part, I'd already siphoned off a few hundred of those 4m – the Napster community numbered more than 20 million. By now the heads of the major record labels had gathered for a summit. In the Washington offices of the Record Industry Association of America (RIAA), execs were encouraged to play a game that was informally called Stump the Napster – in other words, try to find at least one of their new singles that wasn't being shared online. All were appropriately horrified and an action was launched against Napster for breach of copyright. The first year of the new millennium was the first to register a dip in global record sales. That scared the labels, and before long individual Napster users were being sued too, some 18,000 all told. Alex Winter told me he met a woman, in the course of making his documentary, who over a decade later was still embroiled in a multi-million-dollar action. She'd once used Napster to download 26 songs. "The world had changed [because of the internet] and it was never going back," Winter says. "Well, I have a problem with black-and-white thinking when it comes to big cultural changes. People at the time were saying: 'It's fine for me to take whatever I want. Get over it, grandpa!' And on the other side they were saying: 'This is piracy and you're a criminal.' I don't think either was right. With Napster there was an enormous amount of grey." Opponents saw no grey. Litigation against Napster came from all angles. The RIAA sued, so did Metallica and Dr Dre. The court battles dragged on and on – long after Parker, millions of users and even Fanning himself had left Napster behind. Quick! Get to a computer! There was a weekend in February 2001 that felt like the last days of Rome. In the US courts a judge had found for the RIAA in the breach-of-copyright case, and Napster had been ordered to start charging or else close entirely. There were 48 hours of free music left and I remember the panic, trying to think of tracks I vaguely wanted (Pure Shores, Bound 4 Da Reload) but hadn't yet downloaded (Wild Wild West, Mi Chico Latino). Would there ever be such an opportunity again? By now the individual songs on my hard drive vastly outnumbered those on the CDs I owned. I had not been using the service cannily, to complete an exhaustive music collection – as Winter had, for instance. He was in his mid-30s that manic February, and remembers booting up multiple PCs to leach off any Coltrane rarities he was still missing. My approach had always been more of a woozy supermarket sweep, and it meant I'd built up a curious one-track miscellany. At an age by which I should have had a cataclysmic encounter with an album such as Blood on the Tracks, I'd sought out just one Dylan song, The Man in Me, because I'd heard it used to good effect in a film. Very occasionally I was helped to discover an alien band or artist (I remember accidentally getting a cover of Creep by the Cure, hoping for Radiohead, and thinking: hey, this Robert Smith sounds OK...), but by and large my appreciation of music was stunted. When you could download work on a millisecond's whim, there was no bond established. Being free meant no investment. My experience was not typical. That Marlena Shaw-pilfering colleague told me: "Napster hugely expanded my musical horizons. I felt like one of those mantis shrimps with trinocular vision." Others used Napster to try before buying, something a company spokesman pointed out when the issue of file-sharing was brought before an exploratory US Senate committee in 2000: "A chorus of studies show that Napster users buy more records as a result of using [the software]." The question was batted about in courtrooms. Were file-sharers really in the wrong? Was Napster? Not a single MP3 was stored on its servers; the software simply enabled users to download from each other. Anyway, might it not be it a good thing that so many people, 57 million users at Napster's peak, were excitedly seeking out music online? Certain musicians thought so. Wyclef Jean wanted his music to be heard, however it was heard. Chuck D thought of file-sharing as "the new radio". Billy Corgan of Smashing Pumpkins was resigned: "There's no stopping it," he said. "This revolution has already taken place." Peter Gabriel even backed file-sharing software of his own, though the service, unromantically titled WebAudioNet, did not have much impact. By the summer of 2000, Napster had dramatically expanded and about 14,000 songs were being downloaded every minute. Fanning was a star, sought out at a tech conference by two little-known developers, Larry and Sergey, who told him how much they envied what he'd built. When Time magazine put Fanning on its cover in October 2000, an accompanying article gushed: "[His] programme ranks among the greatest internet applications ever, up there with email and instant messaging." But the truth was that, for Napster, terminal rot had set in. Sean Parker had been quietly, hurtfully ousted from the company after an email was unearthed in which he referred to file-sharers as pirates, something Napster's lawyers were always careful to deny. Shown the door, Parker asked Fanning for help, but his friend was so weary and disillusioned that he only said: "You're lucky. You can go and do something else." Before long, Fanning left too. Napster had lost its zest. Rudderless and haemorrhaging relevance, it began a series of doomed manoeuvres. After the court-ordered shutdown, bosses flirted with the idea of reinstating free sharing, but with music that had the lo-fi quality of radio. They gave away free MP3 players. A UK collaboration was announced with Dixons, never the sexiest brand, and by the time Apple was ready to launch its slick iTunes Store in Britain, Napster had a new tie-up – with the Post Office. As iTunes grew in stature, there was some hope, says Winter, that Napster might hang around as "Pepsi to iTunes' Coke". To that end, the brand was bought up by a succession of different corporations, each hoping to recapture some of its original cachet. Too late – by 2006 the digital music market, spurred into life by Fanning and Parker, was worth £560m but Napster had fewer than 1 million users left. By 2008 the numbers were no longer made public. An intriguing hint is floated in Downloaded that Napster was not only a sinkhole for investors' cash; it only ever generated proper revenue by selling T-shirts. Fanning and Parker don't seem to have made any money from it, and were left with big legal debts to go with long-lasting frustrations. "They both spent a lot of time just free-falling after Napster's demise," Winter tells me. "I think it's taken a long time for them to reconcile what was actually good about what they did." Latterly they have thrived. Fanning founded a gaming company, Rupture, which he sold for $30m. Parker partnered with Mark Zuckerberg in the early days of Facebook and then invested in the music-streaming service Spotify. He is now a billionaire, and in 2010 was portrayed as a quick-witted lady's man by Justin Timberlake in David Fincher's Facebook movie The Social Network. Not so bad. "They were like a hydra, two heads," says Winter who has had some experience as part of a double act himself. As an actor in his youth, he played Bill alongside Keanu Reeves' Ted in the Bill & Ted films. "I can identify with having fame really early in a creative partnership, with the stress it puts on a friendship. But both Fanning and Parker were incredibly smart. What they created at 17, 18 – they were visionaries." Selfishly, I'm glad Napster faded when it did. Though copycat software rose up afterwards, downloading music never again felt cloudless. By the time Napster turned off the tap, I'd left home for university, and had got to know a record shop in my new area. The staff there were mercilessly good at convincing wide-eyes like me that the new Belle & Sebastian was worth paying for, and I belatedly started to consider albums as complete packages, to be listened to from start to finish, to invest in. Just how pervasive Napster was, for a particular generational slice, became clear to me a few years later. On a long drive through California, I put on a homemade CD of mostly legitimately bought MP3s plus a few old Napster downloads. There were three Americans in the car, and when Steppenwolf's grand road-trip anthem, Magic Carpet Ride, came on we all sang along – sang along, too, when a mechanical blip interrupted the chorus. Nobody could believe it. Years before, on computers thousands of miles apart, we'd all downloaded the same corrupted MP3 and got to know Steppenwolf with blip included. Napster had weightier legacies. Facebook, iTunes and other towering digital giants have flourished using elements first teased or pioneered by Fanning's software. And Winter's documentary makes clear an authentic regret, these days, from inside the music industry that Napster was not embraced. Even while one executive remembers it as "an ambush… Pearl Harbour", others are damning of the hurry to crush such a thriving online community. Island Records' founder, Chris Blackwell, laments the fact that there wasn't a formal move to reach out to its 50 million users at a time when CD sales were tumbling. The industry might be belatedly wrestling a business model into shape in the online age, but an opportunity to do so a decade ago was probably missed. Napster, I was surprised to find, lingers on in 2013. If you visit its website, you'll learn that it was acquired two years ago by the music subscription service Rhapsody. Prospective users are sunnily advised that file-sharing is fun, easy and possible on a variety of payment plans. Parker and Fanning, meanwhile, have reunited. They're now at work on a fresh venture, a video-conferencing application called Airtime, which seeks to pair up strangers who have similar interests. An online advert imagines two models, brought together because they're both fans of Skrillex and the film Inception, becoming great friends. Other new acquaintances are shown solving Rubik's cubes together, and duetting on the violin. Well would it really be stranger than two teenagers, across a few hectic months, teaching the internet to share? SOURCE: http://www.guardian.co.uk/music/2013/feb/24/napster-music-free-file-sharing

Contemporary Media Regulation - Press Case Studies

It is vital to understand the role of the Leveson Enquiry and subsequent report on the changing face of regulation in the UK press. It is also important to understand the role of the internet and the difficulty of regulation in a digital age. Leveson links - The Guardian's Nick Davies, whose reporting on phone hacking led to David Cameron setting up the Leveson inquiry, gives his immediate reaction to the report. Leveson recommends the introduction of a new press law, proposing a new regulator, which will be independent but with a statutory underpinning What the leveson report means for the press and the public. http://www.bbc.co.uk/news/uk-20547034 The Leveson Enquiry was sparked by the phone hacking scandal: http://www.telegraph.co.uk/news/uknews/phone-hacking/8634176/Phone-hacking-timeline-of-a-scandal.html There are also some other recent incidents that have sparked debate surrounding issues of privacy and the problems of online news. Examples: Kate Middleton and the topless photos - http://www.mirror.co.uk/news/uk-news/kate-middleton-topless-pictures-duchess-1329179 Prince Harry in Vegas - http://www.telegraph.co.uk/news/uknews/prince-harry/9492968/Prince-Harrys-life-cannot-be-regulated-by-royal-protections-officers-police-chief-says.html

Contemporary Media Regulation - Film Case Studies

The BBFC has a section of it's website devoted to case studies on films that have ever been cut, banned or complained about. It would be a useful exercise to look for a contemporary example (ideally in the last 3 years) and a historical example (something like A Clockwork Orange), you need to ideally watch these films and have an opinion on the rating it received, press attention it received and consider your own thoughts on how effective the regulation of the film industry was in relation to that example. It would also be sensible to look on YouTube and see how easy it is to access clips from the film or even how easy it is to see the whole film online. http://www.bbfc.co.uk/case-studies The 12a rating is an interesting area to look at because it was a relatively new rating and it has caused quite a lot of controversy. http://www.bbfc.co.uk/what-classification/12a-and-12 http://www.guardian.co.uk/media/2002/aug/30/filmnews.filmcensorship The BBFC also has a lot of information regarding the history of regulating film. http://www.bbfc.co.uk/education-resources/student-guide

We-Media and Democracy - Citizen Journalism case study - Truthloader

ITN Productions will launch a new citizen journalism channel on YouTube later this year. The Truthloader channel will feature amateur video footage of eyewitness news events and online campaigns from around the world. Professional journalists and social media experts from ITN will curate the material, and the channel will be edited by Dan Bell. ITN Productions managing director Mark Browning said: “There has been a huge focus on the power of online citizen journalism – from the Japan tsunami to the Arab Spring – but how do viewers know they can trust what they’re watching? “With Truthloader, our experts will separate truth from fakery and bring the very best eyewitness accounts to audiences worldwide.” The project will be funded primarily through advertising, though YouTube has given an initial advance against future advertising earnings. ITN Productions works with a number of online partners, including ITN.co.uk., YouTube, Dailymotion, MSN, Virgin Media and AOL. Other ITN-owned brands – such as ITN News, The Showbiz 411, This Is Genius and GameOn - have nearly 300,000 fans, followers and subscribers across social networks. ITN claims its YouTube content is viewed more than 35 million times a month. Source http://www.pressgazette.co.uk/itn-productions-launches-new-citizen-journalism-youtube-channel This is the link to the YouTube channel 'Truthloader' - this would be an interesting case study for We-Media. http://www.youtube.com/user/truthloader

WeMedia & Democracy - Social media and Hacking

Intro: In today’s connected world, many of us are members of at least one, if not more, social networking services. The influence and reach of social media enterprises, such as Facebook (more than 600M active users per month) and Twitter (more than 140M active users), is staggering and as communications tools they offer a global reach delivering almost instantaneous communications to huge multinational audiences. HOW DOES HACKING AND SOCIAL MEDIA CROSS WITH DEMOCRACY?: Social media is attractive for hacktivists because it is a forum for people on the Internet and where big discussions take place. Hijack a forum like this and you have an effective soapbox to get your message across. Hardly a day passes without news of another high profile breach by hacktivists and social media influencers are in the crosshairs. Are social media and hacktivism two ideas that are made for each other? Let's explore some thoughts and ideas and you can make up your own mind. HOW CITIZEN JOURNALISM CAN HELP SOCIETY: The ability of social media to spread news quickly is powerful, and obviously, has great potential for positive use but, like many things in life, it also has potential to be abused. In the case of the recent tragic events in Boston, the tweets started almost immediately and helped keep people informed and also warned people away from the area. Many of the tweets came from “citizen journalists” who were actually on the ground as the events unfolded and were able to describe first-hand what they witnessed. Even in the aftermath of that event, social media played a major part in helping to track down the suspects behind the tragic event. Law enforcement issued a general plea for information and the public gladly did what they could by publishing information, pictures, and videos of the event on the public forums provided by social media sites. Law enforcement was able to utilize this information available to put the pieces together. THE NEGATIVES: The downside of this highly visible means of public participation when looking for suspects in a highly charged situation, such as this, is that individuals may be wrongly accused. This is exactly what happened on certain social media sites where, notably, the Reddit service drew the most criticism. On their site users took the role not only of citizen journalist, but as citizen investigator too. Users began to look at the details and photos posted on the site and pieced together their own—and, as it turned out, incorrect—conclusions on the matter. False information and allegations began to circulate and took on a life of their own. POWER OF SOCIAL MEDIA & CITIZEN JOURNALISM: The business of news is all about influencing people and social media provides a large audience to be influenced. Influence is such a fundamental concept in social media that there are even services which attempt to measure how much influence a user has in the social media space. Services, such as Klout, are designed to address how much influence a user has by using algorithms to measure a person’s “clout,” reflected by a number between 1 and 100, with a higher score indicates a higher level of influence. The news industry has long recognized the power of social media, not only for influencing people but also for gathering information. Today, just about all news outlets have a social media presence to receive and broadcast news to interested audiences. Twitter is the default choice to quickly get information out there. The 140 character limit on tweets forces users to be succinct and focus on main points when communicating. Since many Twitter users use the service on their mobile device and people generally have their mobile device near them all day, information can quickly reach people and be shared again (retweeted) propagating throughout the service's user population (“going viral”). Indeed, services like Twitter reach mass audiences and in turn hold a strong level of influence. Then when trusted media brands enter the social media space, their power of influence and reach is further magnified. We have seen how big news stories often drive follow-up events. Major disasters or terrorist acts have an immediate impact on stock markets. For example, the stock market crashed immediately following the September 11 attacks in 2001—and that happened before the advent of modern day social media services. Recently it was reckoned that the next market crash will be tweeted and given the role social media now plays in society there is no reason to doubt that. What is to stop criminals from perpetrating "pump and dump" stock market fraud by spreading market-moving rumors in social media which cause wild movements in stock prices? This is particularly true as professional trading systems are now even designed to “read” news headlines and react to news autonomously. CONSIDER THE ROLE OF HACKTIVISM IN A DEMOCRACY: Hacktivism is a modern-day evolution of traditional activism brought about by a confluence of technology, politics, and people power. While traditional activism still has its place, activist activity is increasingly being conducted online. There are likely a myriad of reasons why this is the case but one thing is for sure, activists have caught on to the powers of social media and the Internet as tools to further their cause. Many of them actively use Twitter to communicate and coordinate worldwide activities. Ultimately, hacktivists aim to draw attention to their causes which, naturally, makes big influencers their biggest targets. With so much power and influence under the control of trusted brand’s social media accounts it is not too difficult to see that hacktivists would try compromise these accounts and leverage some of the influence for themselves. We have all heard of various celebrity, politician, and corporate social media accounts being hacked, bogus messages being sent, and much of it relatively harmless. But what if a highly influential account is hacked and a plausible but fake message about some disaster or terrorist attack is broadcast to a nation? The possibility for causing panic and disruption is clear. Unfortunately, this type of activity is set to be become an increasingly common phenomenon. While much of the hacktivists’ attention is focused on the perceived injustices of governments and big business, along with global issues, they also zone in on local issues too. As some commentators say, it’s a bit of a wild west in the social media space right now, freedom of speech and civil liberties is hugely important, but so is the responsibility that comes with it. Source: http://www.symantec.com/connect/blogs/social-media-and-hacktivism-two-ideas-made-each-other

WeMedia and Democracy Case Study Examples - Hacktivism

Hacktivism - HISTORY A combination of hacking and social activism, hacktivism is defined as the use of digital tools in pursuit of political ends. The earliest example dates back to 1999, when the loose network known as Cult of the Dead Cow created “Hacktivismo,” an organization espousing that freedom of information was a basic human right. The group designed software to circumvent censorship controls on the Internet that some governments used to prevent citizens from seeing certain content. RECENT EXAMPLES: In December 2010, a group of nearly 3000 activists under the name “Operation Payback” launched online attacksagainst PayPal, MasterCard, and Visa, briefly knocking the three financial services’ sites offline and attempting to prevent consumers from accessing their online banking services. The activists retaliated against the three companies for severing ties with WikiLeaks, an online repository for whistleblower data that had recently included thousands of secret communications from the U.S. State Department and other world governmental agencies. Nine months later more than a dozen people--most between the ages of 19 and 24--were arrested in connection with these denial-of-service (DoS) attacks, even as new attacks were hitting corporate, military, and government sites worldwide OTHER RECENT EXAMPLES: Sony is another prime example of the ripple effect that hacktivism can cause. In 2010, teenage researcher George Hotz reverse-engineered the Sony private key and published it online, thereby allowing almost anyone the opportunity to rewrite the firmware and, by declaring themselves a developer on the Sony network, gain free access to any of Sony’s online games. This action fits the hacker philosophy that all information--even proprietary information--should be free. Sony subsequently sued Hotz, and as a result attracted the attention of hacktivists. The company then suffered many embarrassing DoS attacks and a data breach, including the exposure of 12 million customer credit card numbers. Sony Pictures had 75,000 “music codes” and 3.5 million “music coupons” exposed. Sony has estimated its total losses to be $173 million, including increased customer support, incentives to welcome customers back, legal costs, loss of sales--and better security. POLITICAL HACKTIVISM: Some politically motivated data breaches have inspired full-blown revolutions. In the spring of 2011, protestors, often young, took to the streets in the Middle East, rallying against their governments, some of which had been in power for decades. They were emboldened by, among other things, technology. For some, WikiLeaks and a decentralized online organization known as Anonymous created the environment that gave rise to the “Arab Spring” by posting secret government documents online. About the same time, Anonymous split and formed a smaller group called Lulz Security, or LulzSec. That group allegedly attacked an affiliate of the FBI because it was investigating Anonymous, and later it attacked the Arizona Department of Public Safety because the group disagreed with Arizona’s immigration policy. After 50 days, LulzSec rejoined with Anonymous, although in mid-July the group split off once again with the express purpose of attacking Rupert Murdoch’s News International, ostensibly protesting that organization’s alleged celebrity cell phone hacks by posting Murdoch’s email online. Already one former member of Anonymous regrets his involvement. In an interview with Cisco Security, “SparkyBlaze” said he was “fed up with [Anonymous] putting people’s data online and then claiming to be the big heroes.” He goes on to say: “Getting files and giving them to WikiLeaks, that sort of thing, that does hurt governments. But putting user names and passwords on a pastebin doesn’t [affect governments], and posting the info of the people you fight for is just wrong.” SOURCE: http://www.pcworld.com/article/239594/how_hacktivism_affects_us_all.html

Clips from Grange Hill for Collective identity

The show began in 1978 on BBC1 and was one of the longest-running programmes on British television when it ended its run in 2008. This first clip is a good example of the representation of young British women in the early 1980's compared to now. A comparison of Susanne and Alisha would be interesting. Series 4, episode six. This is a good example of quite timid instances of vandalism and bad behaviour. It would make an interesting contrast to Misfits. This later episode of Grange Hill from 1989 sees the students preparing for a party. It would make a good comparison to the Skins party.

Section B info and past questions

Past questions g325 critical perspectives from Media Studies

This hand out details the requirements of Section B of the exam and also gives all of the previous exam questions for each of the themes.

Representation - useful for Q1b and Collective Identity

Representation A2 from reigatemedia

This is a very detailed presentation on representation, which is obviously relevant for Q1b of the exam but is also useful for those people doing media and Collective Identity for Section B. Another useful presentation for Collective identity

Collective identity of youth - revision from hcayton

The following presentations address all four collective identity prompt questions and some additional theory.

Identity theories from cigdemkalem

Collective prompt 1 from cigdemkalem

Collective prompt q1 from cigdemkalem

Collective prompt 2 from cigdemkalem

Prompt question 2 from cigdemkalem

Prompt 3 from cigdemkalem

Prompt 3 no.2 from cigdemkalem

Prompt 4 from cigdemkalem

Link to Media theory videos

Copy and paste this link into a web browser and it takes you to a YouTube playlist of videos that explain many of the key theories relevant for section B but many of which are also useful for Question 1b.

http://www.youtube.com/user/ibrett78?feature=watch

Andrew Keen - Profile

Andrew Keen is an Internet entrepreneur who founded Audiocafe.com in 1995 and built it into a popular first generation Internet company. He is currently the host of “Keen On” show, the popular Techcrunch chat show, a columnist for CNN and a regular commentator for many other newspapers, radio and television networks around the world. He is also an acclaimed speaker, regularly addressing the impact of digital technologies on 21st century business, education and society. He is the author of the international hit “CULT OF THE AMATEUR: How The Internet Is Killing Our Culture” which has been published in 17 different languages and “DIGITAL VERTIGO: How Today’s Social Revolution Is Dividing, Diminishing and Disorienting Us”, his controversial critique of contemporary social media.
His website http://ajkeen.com/

The Cult of the Amatuer -
Read this article and watch the video
http://www.bbc.co.uk/blogs/newsnight/2007/06/the_cult_of_the_amateur_by_andrew_keen_1.html

http://youtu.be/U2XzkpdR3dg
http://youtu.be/KXBwFV74mKI

Digital Revolution -
http://youtu.be/cFaNFj6QkJI

TED Talk on Internet Revolution -
http://youtu.be/WY2CjqafwQk

Essay Titles

Complete a 2000 word essay and ensure it is completed and handed in on Thursday 7th March.

Media and the Online Age Essay Question:
Discuss the extent to which the behaviour of media audiences has been transformed by the internet.

WeMedia and Democracy Essay Question:
As a citizen, to what extent do you feel that the media provide you with a democratic service?

Contemporary Media Regulation Essay Question:
Why is the regulation of media so complex?
Media and Collective identity Essay Question:
Explain the role played by the media in the construction of collective identity.

HOMEWORK

Please watch the relevant documentary and make notes on your blogs.

We-Media and Democracy - Storyville documentary about Hackers.
http://www.bbc.co.uk/programmes/b006mfx6

Contemporary Media Regulation: Storyville documentary about illegal file sharing.
http://www.bbc.co.uk/programmes/b01qxms3

Media in the Online Age - you could watch the documentary on illegal file sharing or you could watch this documentary about Google
http://www.bbc.co.uk/programmes/b01p9ccf

Media and Collective Identity
Have a look at these short clips regarding Britishness

Example Essay Plan

http://www.slideshare.net/longroadmedia/regulation-section-b-essay-plan" title="Regulation section b essay plan" target="_blank">Regulation section b essay plan

from http://www.slideshare.net/longroadmedia" target="_blank">Media Studies

http://www.slideshare.net/longroadmedia/regulation-section-b-essay-plan



This is an essay plan for contemporary media regulation, it will help you all to see an example of an essay plan in preparation for the next piece of written work.

Lesson Sixteen

Today's lesson is a review of all of the work completed in the last week before half term and also an opportunity to make a start on work for the info film on prompt question 2.

1. Today you must review your prezi with Andrea and also hand in your written work.
2. Begin the planning for your response to your second prompt question. Start brainstorming your response.
3. upload your mind map for your second prompt question to your blog.

Lesson Fifteen and Half Term Work

REMEMBER Thursday's lesson is cancelled due to a year 1 parent consultation evening. This work must ALL be finished by the first lesson back after half term.

1. Turn your prompt question one mind map into a prezi and upload it to your blog - INDIVIDUALLY.

2. Write an essay response (minimum of 1000 words) on the relevant question for your theme. These must be typed, printed out and brought to the first lesson after half term (Monday 18th Feb)


Contemporary Media Regulation Essay Question:
To what extent is contemporary media regulation more or less effective than in previous times?

Media and Collective identity Essay Question:

“Media representations are complex, not simple and straightforward”. How far do you agree with this statement in relation to the collective group that you have studied.

WeMedia and Democracy Essay Question:

What is ‘we media’ and what difference does it make to citizens?

Media in the Online Age Essay Question:

“The impact of the internet on the media is revolutionary”. Discuss.

3. Look at prompt question two and start collecting images for the info film you will be making in response to prompt question 2. Either upload them to your blog, or put them on flickr, or save them on a memory stick.

Lesson Fourteen - Wednesday

Morning!
Right, now we have firmed up our case studies and got our academic theory clearer in our minds you now need to have a go at using it to tackle a prompt question.

Objectives: Use your knowledge to tackle the first prompt question.
Outcome - a detailed mind map tackling the first prompt question. Include reference to both media areas, a range of case studies and make reference to academic theory and the reading you have done.

Put the mind map on your blog. It must be done INDIVIDUALLY but you can help each other out.

FIRST PROMPT QUESTION:

Media and Collective Identity Prompt Question

1. How do the contemporary media represent nations, regions and ethnic/social/collective groups of people in different ways?

Media in the Online Age Prompt Questions

1. How have online media developed?

Contemporary Media Regulation Prompt Questions

1. What is the nature of contemporary media regulation compared with previous practices?

'We Media' and Democracy Prompt Questions

1. What are 'We media'?

Lesson Thirteen - Monday

Morning Guys!
Right, today you all need to finalise your case study examples by completing your case study worksheets - minimum of two (one per media area).
Then have another go at the theory grids - there are spares in the class folder - see the post on Lesson Eleven for more help.

Objectives - to complete the case study and theory work.
Outcomes - Two completed case study worksheets and a completed theory grid.

Contemporary Media Regulation Case Study Links for Leveson

Phone hacking timeline

http://www.bbc.co.uk/news/uk-14124020

VIDEO

http://www.telegraph.co.uk/news/uknews/phone-hacking/8634176/Phone-hacking-timeline-of-a-scandal.html

http://www.guardian.co.uk/media/phone-hacking

Leveson Inquiry

http://www.levesoninquiry.org.uk

Leveson Report

http://www.guardian.co.uk/media/2012/nov/29/leveson-report-published-and-brooks-and-coulson-in-court-live-coverage

http://www.guardian.co.uk/media/interactive/2012/nov/29/leveson-report-executive-summary

`video

http://www.bbc.co.uk/news/uk-20539192

Collective identity Case Study Links

London Riots timeline of violence
http://www.bbc.co.uk/news/uk-14436499

http://www.channel4.com/news/worst-riots-in-living-memory

Link to the Guardians "Reading the riots", A data-driven study into the causes and consequences of the August riots.
http://www.guardian.co.uk/uk/series/reading-the-riots

Good links to be found here.
http://www.scoop.it/t/representation-of-teenagers

Look on YouTube for specific clips of old tv programmes such as Grange Hill, Byker Grove etc


http://www.youtube.com/user/grangehillschool?feature=watch

WeMedia and Democracy Case Study Links

http://www.standard.co.uk/lifestyle/the-clicktivists--a-new-breed-of-protesters-6556435.html

http://www.youtube.com/user/democracynow

http://www.youtube.com/user/sxephil

http://www.youtube.com/user/WHATTHEBUCKSHOW

http://www.huffingtonpost.co.uk

http://politicalscrapbook.net/2011/06/top-50-bloggers-on-twitter/

Lesson Twelve

Complete the case study worksheets - you need a minimum of two (one per media area).

Complete the theory grid.

Lesson Eleven Tasks

Using the grids handed out in lesson, your notes from the last few lessons and the information in the folowing presentations and handouts, fill in the grids for the following terms.

Online Age:
Cyber-Utopianism
Web 2.0
Prosumer
The Long Tail
Participation
We-Think

Collective identity:
Identity
Imagined community
Performativity
Collective consciousness


We-Media
Cyber-Utopianism
Citizen Journalism
Participatory culture
Democracy

Regulation:
Moral panic
Self-regulation
Freedom of speech

P2 media theories explained from Media Studies

Online Age:

Sherry turkle from Media Studies

Charles leadbetter online age from Media Studies

The long tail from Media Studies

Regulation

Byron review from Media Studies

Regulation and leveson from Media Studies

Online Age and Collective ID

David Gauntlett from Media Studies

Collective identity

Collective id theory and examples from Media Studies

Lesson Ten - Finalisation of Case Studies

Today's task is to flesh out the detail on your case studies.
Below is a prime example of a good case study to use for your theme. You need to complete the following:
1. Follow the links and gather as much information as you can regarding the case study - DO NOT cut and paste.
2. Create a mind map highlighting the key pieces of information regarding your case study.
3. Summarise the importance of your case study
4. Look at your 4 prompt questions and write a paragraph in response to the questions using your case study to fully explore the questions.

REMEMBER to pay attention to the sources of your information - consider that it may be bias.
REMEMBER the examiner is not looking for you to agree with everything, they want you to challenge perspectives and viewpoints.


WeMedia & Democracy
Case Study: Wikileaks
Links:
http://www.scoop.it/t/wemedia
http://www.huffingtonpost.com/vincent-warren/wikileaks-and-democracy_b_805498.html
http://www.telegraph.co.uk/comment/columnists/janetdaley/8196566/WikiLeaks-is-delinquent-and-anti-democratic.html
http://www.futureleaders.com.au/book_chapters/pdf/More-or-Less/Jennifer_Robinson.pdf

Contemporary Media Regulation
Case Study: Leveson Report and Phone Hacking Scandal
Links:
http://petesmediablog.blogspot.co.uk/2012/12/a-level-media-students-guide-to-leveson.html
http://www.guardian.co.uk/media/2012/nov/28/leveson-inquiry-report-essential-guide#103
http://www.guardian.co.uk/media/leveson-inquiry
http://www.guardian.co.uk/media/2012/nov/29/leveson-inquiry-report-qanda
http://blogs.spectator.co.uk/coffeehouse/2012/11/leveson-recommends-statutory-underpinning-of-press-regulation/

Media & Collective Identity
British Youth Case Study - London Riots newspaper coverage
Links:
http://petesmediablog.blogspot.co.uk/2011/10/news-reporting-in-year-of-big-stories-2.html
http://petesmediablog.blogspot.co.uk/2011/10/news-reporting-in-year-of-big-stories-3.html
http://www.slideshare.net/petefrasers/riots-10077290
http://www.guardian.co.uk/society/2011/sep/05/young-people-2011-summer-unrest
http://uk.reuters.com/article/2011/08/10/uk-britain-riots-hackney-idUKTRE77942520110810
http://www.totalpolitics.com/blog/177012/why-do-we-care-if-the-rioters-are-young.thtml

Footballers Wives Case Study - Press coverage of World Cup 2006
http://www.essex.ac.uk/sociology/documents/pdf/graduate_conference/2009/jen_bullen.pdf
http://mediaasiaconference.humanities.curtin.edu.au/pdf/Wong%20Shiau%20Ching.pdf
http://www.ft.com/cms/s/0/9ce53984-cc8f-11df-a6c7-00144feab49a.html#axzz2JCMM4G41
http://www.celebyouth.org/wags-and-wafs-tulisa-and-the-classed-and-gendered-hierarchies-of-contemporary-celebrity-culture/
http://news.bbc.co.uk/sport2/hi/cricket/england/4234954.stm
http://blogs.guardian.co.uk/mortarboard/2007/10/wag_work_ethic_aspirations_gcs.html

Media in the Online Age
Film Case Study: YouTube
http://documentarytech.com/?tag=youtube-film-distribution
http://www.youtube.com/user/theorchard
http://guru.bafta.org/blog/film-sales-agents-distributors-guide
http://www.filmmakingstuff.com/sell-your-movie/
http://www.beyondtheboxoffice.com/blog/film-distribution/online-film-distribution-101-download-or-stream-your-movie/
http://www.filmflexmovies.co.uk/become_a_partner.php
http://www.csimagazine.com/csi/The-future-of-online-movie-distribution.php
http://www.screenonline.org.uk/film/distribution/distribution1.html

Lesson Seven Tasks

Read the article given to you and answer the following questions.

Contemporary Media Regulation

Summarise what is meant by a moral panic (P105).
Name some contemporary moral panics.
What is problematic about a moral panic?
Summarise labelling theory.
What is problematic about the labelling theory?
What relationship does the manufacture of news have to moral panics (P104)?
What is the difference between censorship and regulation (P109)?
What is the IWF and is it still in operation?
How does the example of China demonstrate the effectiveness of regulation?


Media in the Online Age
What is Web 1.0?
What is Web 2.0?
What does Chris Anderson say about Web 2.0?
What is the Long Tail?
What does Andrew Keen think about Web 2.0?
What does Keen say are the problems of anonymity?
How far does Web 2.0 embody Tim Berner's Lee's original intention for the internet?
What is P2P and what impact does it have on the music industry?


Media and Collective Identity
Read page three and then summarise the difficulties of nationalism.
How is nationality constructed?
What is problematic about nationality?
Read the top of page 6 to the bottom of page 7 and then summarise the idea of an imagined community?
How would you describe Britishness as an identity?


WeMedia and Democracy
How does the article define the citizen journalist?
What is problematic about citizen journalism?
What is the poster boy of the citizen journalist and how does it link to democracy?
What does Dan Gillmoor say about news and how does it link to democracy?
What does Saracevic tell you about the differences between citizen and traditional journalism?
What does Dan Gillmoor say that citizen journalism provides that mainstream journalism doesn't?
Do some research into Daily Kos.
What is Web 2.0? (Ask the online age group to help you).
Research Huffington Post, what does the article say is problematic about the Huffington Post?
How does Lemann's point impact on democracy? Do you agree with Lemann?
What does Robert Samuelson say is the downside of all this 'democracy' and do you agree?

Lesson Six Tasks - Exemplar answers

Have a look at these example answers. Identify the case studies used, key terms and any reference to academic theory.
Then research these terms and examples.

Section b collective id-38 marks from Media Studies

Media and Collective identity from Media Studies

Section b media onlineage-16 marks from Media Studies

G325 we media june 2011 from Media Studies

G325 regulation june 2011 from Media Studies

RESEARCH:
Consider the benefits of conducting your own consumer research.
Use either Facebook or www.surveymonkey.com to design your questionnaire and then decide when, where and how you are going to collect your data.

Past Papers

You will probably find it useful to have a look at an example exam paper.

G325 Past Paper Jun 2010 from Kerim Aytac

Here is a link to the OCR site with all past papers.
http://www.ocr.org.uk/qualifications/as-a-level-gce-media-studies-h140-h540/

Lesson 4 Tasks 2013

It is now vital for you to confirm the media areas you will be focusing on for your theme i.e. film, television, press, music, video games etc. Now you need some very specific contemporary examples through which to discuss your themes and prompt questions.
Have a read through these links from Pete's Media Blog first. They give you some excellent advice and some links to case studies. Make notes and blog them on your own blogs.

Contemporary Media Regulation:
http://petesmediablog.blogspot.com/2011/05/contemporary-media-regulation.html

Media in the Online Age:
http://petesmediablog.blogspot.com/2011/05/media-in-online-age-exam-questions.html

We-Media and Democracy:
http://petesmediablog.blogspot.com/2011/05/wemedia-and-democracy-exam-questions.html

Media and Collective Identity:
http://petesmediablog.blogspot.com/2011/05/collective-identity-exam-questions.html

Once you have finished following those leads now explore these links for some possible case studies.

Contemporary Media Regulation: 
http://www.time.com/time/arts/article/0,8599,1950005,00.html
http://www.forbes.com/sites/ciocentral/2012/08/01/the-coming-video-game-distribution-platform-wars/
http://www.learn-cocos2d.com/2011/12/history-future-video-game-distribution/
http://www.nytimes.com/2013/01/12/us/politics/makers-of-violent-video-games-marshal-support-to-fend-off-regulation.html?_r=0
http://www.huffingtonpost.com/2013/01/11/joe-biden-violent-video-games_n_2458161.html
http://www.huffingtonpost.com/tech/?ref=topbar


Media in the Online Age:
http://www.bbc.co.uk/news/technology-11371315
http://smallbusiness.chron.com/illegally-downloading-music-impact-music-industry-27748.html
http://www.guardian.co.uk/news/datablog/2009/jun/09/games-dvd-music-downloads-piracy
http://www.independent.co.uk/arts-entertainment/films/features/online-movie-campaigns-time-to-see-the-bigger-picture-2042357.html
http://www.bbc.co.uk/newsbeat/14045313
http://www.artistshousemusic.org/videos/the+impact+of+illegal+downloading+on+the+film+industry
http://www.time.com/time/arts/article/0,8599,1950005,00.html
http://www.bbc.co.uk/filmnetwork/filmmaking/guide/distribution/distribution
http://www.forbes.com/sites/ciocentral/2012/08/01/the-coming-video-game-distribution-platform-wars/
http://www.learn-cocos2d.com/2011/12/history-future-video-game-distribution/


We-Media and Democracy:
http://www.policymic.com/articles/10642/twitter-revolution-how-the-arab-spring-was-helped-by-social-media
http://www.thenational.ae/news/uae-news/facebook-and-twitter-key-to-arab-spring-uprisings-report
http://www.guardian.co.uk/commentisfree/2011/mar/07/facebook-twitter-revolutionaries-cyber-utopians
http://www.telegraph.co.uk/culture/books/ways-with-words/8629294/Ways-With-Words-role-of-Twitter-and-Facebook-in-Arab-Spring-uprising-overstated-says-Hisham-Matar.html

http://en.wikipedia.org/wiki/Anonymous_(group)
http://www.guardian.co.uk/technology/anonymous
http://www.bbc.co.uk/news/technology-11371315
http://www.huffingtonpost.com/tech/?ref=topbar

http://www.journalism.org/index_report/twitter_users_blast_london_rioters


Media and Collective Identity:
http://www.gresham.ac.uk/lectures-and-events/the-making-of-modern-celebrity-famous-for-fifteen-minutes-and-longer
http://www.guardian.co.uk/lifeandstyle/2009/apr/16/wags-lifestyle-football
Read More - The British Sociological Association
The celebrity footballer's wife has appeared in the media since at ...

http://www.independent.co.uk/news/uk/home-news/hoodies-louts-scum-how-media-demonises-teenagers-1643964.html
http://www.slideshare.net/jphibbert1979/contemporary-media-rep-of-youth
http://www.slideshare.net/jphibbert1979/media-and-collective-identity-theory-revision
http://www.guardian.co.uk/society/2011/sep/05/young-people-2011-summer-unrest
http://www.number10.gov.uk/news/pms-speech-on-the-fightback-after-the-riots/
http://www.tes.co.uk/teaching-resource/Representations-in-the-London-Riots-6192238/
http://www.journalism.org/index_report/twitter_users_blast_london_rioters
http://www.totalpolitics.com/blog/177012/why-do-we-care-if-the-rioters-are-young.thtml
http://www.slideshare.net/petefrasers/riots-10077290?ref=http://petesmediablog.blogspot.co.uk/2011/11/media-magazine-student-conference.html

Links to 2013 group Blogs

We-Media and Democracy
Sophie & Bethany: http://nandosmasher.blogspot.co.uk
Dan & Nathan: http://ndbooyson.blogspot.co.uk/
Drew: http://drewcarolanwemedia.blogspot.co.uk

Media in the Online Age
Jason & Ben (Music and Videogames): http://jasonandben.blogspot.co.uk/
Bradley & Jack (Videogames & Film):http://sandhamstearn.blogspot.co.uk
Max (Videogames and Film): http://cartersmedia14.blogspot.co.uk

Media & Collective Identity
Chloe & Maya (British Youth on TV and in the Press): http://mediaandcollectiveid.blogspot.com
Kisu (Footballers Wives in the Press and Social Networking): http://mediaandcollectiveidentity2013.blogspot.com

Contemporary Media Regulation:
Tom (Videogames and Press): http://cont-media-issues-videogames.blogspot.com
Ali (Film and Press) http://contemporarymediaregulationajh.blogspot.com

Lesson Three 2013

Lesson 3 Tasks

1. Look back at the tasks for lesson 2 and ensure you have completed them all
2. You must ensure that by the end of today's lesson you write a post on your blog confirming the two media areas that you intend to cover, i.e. tv, film, news, videogames, music, social networking etc.
3. All of you need to demonstrate that you know and understand some media theory so the following links are the starting point for this process. Read and begin to make some notes on the following links:

Media and the Online Age
http://www.boingboing.net/2010/10/05/xkcds-online-communi.html

We-Media
http://wethemedia.oreilly.com/
http://www.hypergene.net/wemedia/weblog.php
http://citizenjournalism.me/

Media Regulation
http://www.dcsf.gov.uk/byronreview/actionplan/index.shtml
http://www.slideshare.net/rikhudson/media-regulation-booklet-ocr-media-conference-2009

Media and Collective Identity
http://www.aber.ac.uk/media/Documents/marxism/marxism09.html
http://www.youtube.com/watch?v=LtS24lqluq0
http://www.shirky.com/writings/national_identity.html
http://www.theory.org.uk/ctr-ador.htm

Lesson Two Tasks

1. Finalise your media areas i.e. film, tv, press, video games etc.
2. Begin to discuss what you understand your theme to mean and what it might incorporate, use your prompt questions to guide your discussions. Create a mind map defining key words and examples from different media areas that relate to your theme.
3. Post your mind map and research onto your blog.
4. Begin to research your specific media examples, use the worksheets below to focus your research and discussions. Ensure they cross at least two different media areas.
4. Blog all of your research.

Media in the online age key terms activity from Media Studies

We media & democracy key terms activity from Media Studies

Collective identity key terms activity from Media Studies

Contemporary media regulation key terms activity from Media Studies