Download ebook Media Impact An Introduction To Mass Media Pdf full chapter pdf

Media/Impact, An Introduction To Mass
Media - eBook PDF

Visit to download the full and correct content document:
https://ebooksecure.com/download/media-impact-an-introduction-to-mass-media-ebo
ok-pdf/
Want to turn C's
t AJ ?
In O "'S. Obviously, right?
•
But the right way to go about it isn't always so obvious. Go digital to

get J~eJlrades ..#MindTap's customizable study tools and eTextbook
g ~ e you everythirig':you .need all in one place.
Engage witn Y,our. cour.se contenf'A enj~y tt.ie flexioilit~ ofi

studY,ir.tg alilY,t1me ar.ta alilY,wne e,Jitay~ r.iectea to assignment aue
dates ar.tct ·r.istr.uctor. notifiicat1ona wit f die Minclua~ Mooile aRf:2 ...
and most oi aU... E~ RN BEiliiTiER GRADES.
~.,
•-
~ CENGAGE
Learning· MindTap®
Copyright 20 17 Cengage Leaming. All Rights Reserved . May nol be copied, scanned, or duplicated, in whole or in pan. Due to electronic rights, so e third pany content may be suppressed from the e Book and/or eChapter(s)
Editorial review has deemed that any suppressed content docs not materially affect the overall learning experience . Cengage Leaming reserves the right I remove additional content at any time if subsequent rights restrictions require ii
AN INTRODUCTION
TO MASS MEDIA
General Mass Communication Radio, Television, and Film
Belmas/Overbeck, Major Principles of Media Law, 2016 Albarran, Management of Electronic and Digital Media ,
Edition Sixth Edition
Biagi, Media I Impact: An Introduction to Mass Media , Alten, Audio Basics, First Edition
Twelfth Edition Alten, Audio in Media , Tenth Edition
Fellow, American Media History , Third Edition Eastman/Ferguson, Media Programming: Strategies
Lester, Visual Communication: Images with Messages , and Practices , Ninth Edition
Sixth Edition Gross/Ward, Digital Moviemaking , Seventh Edition
Straubhaar/LaRose/Davenport, Media Now: Under- Hausman/Messere/Benoit, Modern Radio and Audio
standing Media, Culture, and Technology, Ninth Production: Programming and Performance, Tenth
Edition Edition
Zelezny, Cases in Communications Law , Sixth Edition Hilliard, Writing for Television, Radio, and New Media ,
Zelezny, Communications Law: Liberties, Restraints, Eleventh Edition
and the Modern Media, Sixth Edition Hilmes, Only Connect: A Cultural History of Broadcast-
ing in the United States , Fourth Edition
Journalism Mamer, Film Production Technique: Creating the Accom-
Bowles/Borden, Creative Editing, Sixth Edition plished Image, Sixth Edition
Davis/Davis, Cengage Advantage Books: Think Like Lewis, Essential Cinema: An Introduction to Film
an Editor: 50 Strategies for the Print and Digital Analysis, First Edition
World , Second Edition Osgood/Hinshaw, Cengage Advantage Books: Visual
Hilliard, Writing for Television, Radio, and New Media , Storytelling: Videography and Post Production in
Eleventh Edition the Digital Age, Second Edition
Kessler/McDonald, When Words Collide: A Media Writ- Zettl, Sight Sound Motion: Applied Media Aesthetics,
er's Guide to Grammar and Style , Ninth Edition Eighth Edition
Rich, Writing and Reporting News: A Coaching Method, Zettl, Television Production Handbook , Twelfth Edition
Eighth Edition Zettl, Video Basics, Seventh Edition
Public Relations and Advertising Research and Theory

Diggs-Brown, The PR Styleguide: Formats for Public Baran/Davis, Mass Communication Theory: Founda-
Relations Practice, Third Edition tions, Ferment, and Future , Seventh Edition
Drewniany/Jewler, Creative Strategy in Advertising, Sparks, Media Effects Research: A Basic Overview, Fifth
Eleventh Edition Edition
Hendrix/Hayes, Public Relations Cases , Ninth Edition Wimmer/Dominick, Mass Media Research: An Introduc-
Newsom/Haynes, Public Relations Writing: Strategies tion , Tenth Edition
and Structures , Eleventh Edition
Newsom/Turk/Kruckeberg, Cengage Advantage Books:
This Is PR: The Realities of Public Relations, Elev-
enth Edition
Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppresstxl from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
MEDIA/IMPACT
AN INTRODUCTION TO MASS MEDIA
////////////////////////////////////////////////////////////////////////////////////////////////////////////////////;
SHIRLEY BIAGI
California State University, Sacramento
~.. # CENGAGE
•- Learning·
Australia • Brazil • Mexico • Singapore • United Kingdom • United States
This is an electronic version of the print textbook. Due to electronic rights restrictions, some third party content may be suppressed. Editorial
review has deemed that any suppressed content does not materially affect the overall learning experience. The publisher reserves the right to
remove content from this title at any time if subsequent rights restrictions require it. For valuable information on pricing, previous
editions, changes to current editions, and alternate formats, please visit www.cengage.com/highered to search by
ISBN#, author, title, or keyword for materials in your areas of interest.
Important Notice: Media content referenced within the product description or the product text may not be available in the eBook version.
Copyright 201 7 Cengage Learning . All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppresstxl from the eBook and/or eChapter(s).
#• ~ CENGAGE
1 .. Learning·
Media/Impact: An Introduction to Mass Media, © 2017, 2015, 2013 Cengage Learning

Twelfth Edition WCN: 02-200-202
Shirley Biagi
ALL RIGHTS RESERVED. No part of this work covered by the copyright herein may be
Product Director: Monica Eckma n reproduced, transmitted, stored, or used in any form or by any means graphic, elec-
Product Manager: Kelli Strieby tronic, or mechanical, including but not limited to photocopying, recording, scanning,
digitizing, taping, web distribution, information networks, or information storage and
Associate Content Developer: Rachel Smith
retrieval systems, except as permitted under Section 107 or 108 of the 1976 United
Associate Content Developer: Rachel Schowalter States Copyright Act, without the prior written permission of the publisher.
Product Assistant: Colin Solan
Marketing Manager: Sarah Seymour
Senior Content Project Manager: Jill Quinn For product information and technology assistance, contact us at
Cengage Learning Customer & Sales Support, 1-800-354-9706
Senior Art Director: Marissa Falco
For permission to use material from this text or product,
Manufacturing Planner: Doug Bertke submit all requests online at www.cengage.com/permissions.
IP Analyst: Ann Hoffman Further permissions questions can be emailed to
permissionrequest@cengage.com.
IP Project Manager: Farah Fard
Production Service/Compositor: Lachina
Library of Congress Control Number: 2015955054
Text and Cover Designer: Lisa Kuhn, Curio Press
Cover Images: FRONT COVER: App logos: AP Student Edition:
lmages/Picture-alliance /d pa/Jens Buttner; Lily ISBN: 978-1-305-58098-5
James: Kevin Winter/Getty Images; Net neutral- Loose-leaf Edition:
ity: The Washington Post/Getty Images; Big ISBN: 978-1-305-87540-1
Bang Theory: CBS Photo Archive/Getty Images;
Chicago Bulls Mascot:Jonathan Daniel/Staff/
Getty Images Sport/Getty Images. BACK COVER: Cengage Learning
iHeartRadio: Isaac Brekken/Getty Images; Sam- 20 Channel Center Street
sung headphones ad: Trevor Snapp/Bloomberg/ Boston, MA 02210
Getty Images; Russell Westbrook: Layne Mur- USA
doch/NBAE via Getty Images; Stop Killing Jour-
(engage Learning is a leading provider of customized learning solutions with employ-
nalists sign: AP lmages/Anjum Naveed
ees residing in nearly 40 different countries and sales in more than 125 countries around
the world. Find your local representative at www.cengage.com.
(engage Learning products are represented in Canada by Nelson Education, Ltd.
To learn more about (engage Learning Solutions, visit www.cengage.com.
Purchase any of our products at your local college store or at our preferred online store
www.cengagebrain.com.
Printed in the United States of America

Print Number: 01 Print Year: 2015
Copyright 2017 Ccngagc Leaming. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic ri ghts, some third party content may be suppressed from the c Book and/or cChaptcr(s)
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Ccngagc Leaming reserves the right to remove additional content at any time if subsequent rights restrictions require it
1////////////////////////////////////////////////////////////////////////////////
BRIEF CONTENTS Impact Boxes

Preface xxii
xix Foreword xxv
About the Author xxvi
PART ONE: THE MASS MEDIA INDUSTRIES
Chapter 1 Mass Media and Everyday Life
Chapter 2 Books: Rearranging the Page 25
Chapter 3 Newspapers: Mobilizing Delivery 43
Chapter 4 Magazines: Chasing the Audience 65
Chapter 5 Recordings: Streaming Sounds 85
Chapter 6 Radio: Riding New Waves 103
Chapter 7 Movies: Digitizing Dreams 125
Chapter 8 Television: Switching Channels 147
Chapter 9 Internet Media: Widening the Web 171
PART TWO: SELLING THE MESSAGE
Chapter 10 Advertising: Catching Consumers 199
Chapter 11 Public Relations: Promoting Ideas 219
PART THREE: CHANGING MESSAGES
Chapter 12 News and Information: Staying Connected 235
Chapter 13 Society and Political Issues: Shaping the Arguments 255
Chapter 14 Law and Regulation: Reforming the Rules 277
Chapter 15 Mass Media Ethics 311
Chapter 16 Global Media: Communicating Change 333
Glossary 361
Media Information Resource Guide 366
Selected References 374
Index 387
Copyright 20 17 Cengage Learning. All Rights Reserved. May not be copied, scanned, or d uplicated, in whole or in pan . Due to electronic rights, some third party content may be suppressed fro m the e Book and/or eChapter(s)
1////////////////////////////Ill//////Ill///////Ill/
CONTENTS Impact Boxes

Preface xxii
xix Foreword xxv
About the Author xxvi
PART ONE: THE MASS MEDIA INDUSTRIES
Mass Media and Everyday Life

Mass Media Are Everywhere You Are 2
Illustration 1.1: Average Time Americans Spend Using Mass
Media Each Day 4
Mass Communication Becomes Wireless 4
How the Communication Process Works 5

Illustration 1.2: Elements of Mass Communication 6
What Are the Mass Media Industries? 7

Books 7 I Newspapers 7 I Magazines 7
0 Impact/Money Jllustration 1.3: U.S. Mass Media Industries Annual
Income 1987-Today 8
Recordings 8 I Radio 8 I Movies 9 I Television 9 I The Internet 9
Three Key Concepts to Remember 9
Mass Media Are Profit-Centered Businesses 9
Convergence Dominates the Media Business 11
Why Media Properties Converge 12
Advertisers and Consumers Pay the Bills 13
Technology Changes Mass Media Delivery and Consumption 13

Phonetic Writing: The First Information Communications Revolution 14 I Printing:
The Second Information Communications Revolution 14 I Computer Technology: The
Third Information Communications Revolution 15
Media Take Advantage of Digital Delivery 15

One-Way Versus Two-Way Communication 15 I Dumb Versus Smart
Communication 16
How Today's Communications Network Operates 16

The Receiver (You, the Subscriber) 16 I The Channel (Cable, Telephone, Satellite and
Cellular Companies) 17
0 Impact/Convergence How the Global Communications Network Works 17
The Sender (Internet Service Providers) 18 I The Message (Content) 18
Mass Media Both Reflect and Affect Politics, Society and Culture 18
Why You Should Understand Mass Media and Everyday Life 19

0 Impact/Convergence The Internet of Things Is Far Bigger Than Anyone
Realizes 20
vi CO NTENTS Review, Analyze, Investigate 21
Copyright 201 7 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in pan . Due to electronic rights, some third party content may be suppressed from the e Book and/or eChapter(s)
CO NTENTS vii
Books: Rearranging the Page

Publishers Nurture Ideas and Try to Make a Profit 26
<(
How American Book Publishing Grew 26
co
Political Pamphlets 28 I Novels and Poetry 28 I Humor 28 I International
Ii
"E E Copyright Law of 1891 29 I Publishing Houses 29 I Compulsory Education 29
~t
m m
5~ Cheaper Books Create a Mass Market 29

Book Clubs 29 I Paperbacks 29
Grove Press Tests Censorship 30
Investors Buy Up Publishing Companies 30
Book Publishing at Work 30
Books Begin with Authors and Agents 30

0 Impact/Convergence £-Book Restrictions Leave "Buyers" with Few Rights 31
0 Impact/Money Illustration 2.1: Book Publishing's Six Global Giants 32
How Do Books Get Published? 32
The Book Industry Has Three Major Markets 33

Adult and Juvenile Trade Books 33 I Textbooks 33
0 Impact/Money Illustration 2.2: How Do Book Publishers Make Their
Money? 34
Professional and Scholarly Books 34
Audiobooks and E-books Multiply the Audience 34

Audiobooks 34 Electronic Books 34I
0 Impact/Convergence The First Bookless Library: BiblioTech Offers Only

£-books 35
Corporations Demand Higher Profits 36

Subsidiary and International Rights 36 I Blockbusters 36 I Chain Bookstores
and Internet Retailers Compete 37
Small Presses Seek Specialized Audiences 37
New Technologies Affect Production and Delivery 37
Book Publishing Today Is a Competitive, Complex Business 38
Review, Analyze, Investigate 39
Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in pan. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s)
viii CO NTENTS
BuzzFeeo
Newspapers: Mobilizing Delivery
First Mass Medium to Deliver News 44
46
I
..c James Franklin's New England Courant Establishes an Independent Press
OTrendiftii ~
Tradition 46 I Benjamin Franklin Introduces Competition 46 I Truth Versus Libel:
I The Zenger Trial 46 I Women's Early Role as Publishers 47 I Birth of the Partisan
Press 47 I The Stamp Act 47 I The Alien and Sedition Laws 48
Technology Helps Newspapers Reach New Readers 48

Frontier Journalism 48 I Ethnic and Native American Newspapers 49 I Dissident
Voices Create the Early Alternative Press 49
Newspapers Seek Mass Audiences and Big Profits 50
Newspapers Dominate the Early 20th Century 51

Competition Breeds Sensationalism 51
0 Impact/Profile Ida 8. Wells Uses Her Pen to Fight 19th-Century Racism 51
Yellow Journalism Is Born: Hearst's Role in the Spanish-American War 52 I Tabloid
Journalism: Selling Sex and Violence 52
Unionization Encourages Professionalism 53
Television Brings New Competition 53
Alternative Press Revives Voices of Protest 54
Newspapers Expand and Contract 54
Newspapers at Work 54
Technology Transforms Production 55

Illustration 3.1: Percentage of Adults Who Say They Read a
Newspaper Yesterday (Includes Internet and Mobile Phone Readers) 55
Consolidation Increases Chain Ownership 56
Newspapers Fight to Retain Readers 56
National Newspapers Seek a Wider Audience 56
Internet Editions Open Up New Markets 57

0 Impact/Convergence Illustration 3.2: Newspaper Readers Prefer the Printed
Paper, But Mobile Access Is Increasing 57
Today's Newspaper Audience Is a Moving Target 58

0 Impact/Profile BuzzFeed Co-Founder Jonah Peretti Wants to Take Its Content
Far Beyond Lists 59
CO NTENTS ix
Magazines: Chasing the Audience

J Magazines Reflect Trends and Culture 66
-<'
:;! Colonial Magazines Compete with Newspapers 66
1ij
Magazines Travel Beyond Local Boundaries 68
j
Publishers Locate New Readers 68
Women'.s Issues 68 I Social Crusades 68 I Fostering the Arts 69 I Political
Commentary 69 I Postal Act Helps Magazines Grow 70
McClure's Launches Investigative Journalism 10
The New Yorker and Time Succeed Differently 71

0 Impact/Profile Muckraker Ida Tarbell Exposes Standard Oil'sJohn D.
Rockefeller 71
Harold Ross and The New Yorker 72 I Henry Luce'.s Empire:Time 72
Specialized Magazines Take Over 72
Companies Consolidate Ownership and Define Readership 73
Magazines Divide into Three Types 73

0 Impact/Money Illustration 4.1: Top 10 U.S. Consumer Printed
Magazines I Illustration 4.2: Top 10 U.S. Digital Replica Magazines 74
Magazines at Work 75
0 Impact/Convergence Jllustration 4.3: Who Reads Digital Magazines? 76
Magazines Compete for Readers in Crowded Markets 77
Readers Represent a Valuable Audience for Advertisers 77
Digital Editions Offer New Publishing Outlets 78

0 Impact/Money Digital Cracks SO Percent ofAd Revenue at Wired
Magazine I First for the Title Is an Encouraging Sign for the Industry 79
Magazines' Future Is Digital 80
Recordings: Streaming Sounds

Edison Introduces His Talking Machine 88
~ Goldmark Perfects Long-Playing Records 88

~
i Paley Battles Sarnoff for Record Format 89
!" Hi-Fi and Stereo Rock In 89

>'= O Impact/Profile Steve Martin, Lauryn Hill and Radiohead Archived by
National Recording Registry 90
Copyright 20 17 Cengage Learning. All Rights Reserved. May not be copied, scanned, or d uplicated, in whole or in pan. Due to electronic rights, some third party content may be suppressed from the e Book and/or eChapter(s)
X CO NTENTS
Recording Industry at Work 91
Concerts Bring In Essential Revenue 92
Three Major Companies Dominate 92
Music Sales and Licensing Drive Industry Income 93

Direct Sales 93
Music Licensing: ASCAP Versus BM/ 93
I
0 Impact/Money Illustration 5.1: How Does the Recording Industry Earn Money? 93
Illustration 5.2: Concert Audiences Drive Music Industry Profits 94
Music Industry Fights to Protect Content 95

Music Content Labeling 95 I Overseas Music Piracy 95 I Internet File Sharing 95
Recording Industry Association Sues Downloaders 95
U.S. Supreme Court Rules Against Illegal File Sharing 96
Music Industry Wins Legal Action Against Downloader 96
U.S. Justice Department Targets Megaupload 96
Digital Technology Transforms Delivery 97
Internet Brings New Obstacles and New Audiences 97

Primavera Sound Sets the Stage for Music Festivals Worldwide 98
Radio: Riding New Waves

Radio Sounds Are Everywhere 104
j Radio Takes a Technological Leap 104
~ Broadcasting Is Born 106

-i'C
ii Wireless Breakthrough: Guglielmo Marconi 106 I Experimental Broadcasts: Reginald
£ Aubrey Fessenden 106 I Detecting Radio Waves: Lee de Forest 106 I A Household
Utility: David Sarnoff 107
Federal Government Regulates the Airwaves 107

Government Approves Commercial Broadcasting 107
Experimental Stations Multiply 107 I KDKA Launches Commercial Broadcasting 107
Radio Audience Expands Quickly 108

Blanket Licensing 108 I Commercial Sponsorship 108 I Federal Radio
Commission 108
Radio Grows into a Powerful Force 109
"The War of the Worlds" Challenges Radio's Credibility 109

Illustration 6.1: Where Do People Listen to the Radio? 110
Radio Networks Expand 111

David Sarnoff Launches NBC 111 I William S. Paley Starts CBS 111 I Edward Noble
BuysABC 111
CO NTENTS xi
Radio Adapts to Television 111

Inventor Edwin H. Armstrong Pioneers FM 112 I Licensed Recordings Launch
Disc Jockeys 112 I Clock, Car and Transistor Radios Make Radio a Necessary
Accessory 112 I Gordon Mclendon Introduces Format Radio 113 I Payola
Scandals Highlight Broadcast Ethics 113
Radio at Work 114
Congress Creates National Public Radio 114
Portability and Immediacy Help Radio Survive 115
Telecommunications Act of 1996 Overhauls Radio 115
Are Radio Ratings Accurate? 115

0 Impact/Money Jllustration 6.2: Which Radio Formats Are Most Popular? 116
Radio Depends on Ready-Made Formats 116
Audience Divides into Smaller Segments 111
Competition Revives Payola 111

O Impact/Convergence Illustration 6.3: Radio Listening Goes Digital and
Mobile 118
Digital Audio Delivers Internet and Satellite Radio 118

0 Impact/Convergence Pandora Radio Opens Listener Data to Let
Musicians Target Fans 119
Streaming Splits Radio Industry Income 120
Movies: Digitizing Dreams

Movies Mirror the Culture 126
Inventors Capture Motion on Film 126

Early Inventors Nurture the Movie Industry 126 I Morey and
Muybridge 126 I Thomas Edison 128 I William K. L. Dickson 128 I Auguste
and Louis Lumiere 128 I Edison Launches American Movies 128
Filmmakers Turn Novelty into Art 129

Georges Melies 129 I Edwin S. Porter 129
Studio System and Independent Moviemakers Flourish 129
Movies Become Big Business 130

Studios Move to Hollywood 130 I Distributors Insist on Block
Booking 130 I United Artists Champions the Independents 130
0 Impact/Profile Lighting Up a Black Screen: Early "Race Films" Pioneered the
Art of Breaking Stereotypes 131
Moviemakers Use Self-Regulation to Respond to Scandals 132 I New
Technology Brings the Talkies 133
xii CO NTENTS
Big Five Studios Dominate 133
Labor Unions Organize Movie Workers 133
Movies Glitter During the Golden Age 134
Congress and the Courts Change Hollywood 134

The House Un-American Activities Committee 134 I United States v. Paramount
Pictures, Inc., et al. 135
Movies Lose Their Audience to Television 135
Wide-Screen and 3-0 Movies 135 I Changes in
Censorship 136 I Spectaculars 136 I Movie Ratings 137
Movies and Money Today 137

Ticket Prices Rise and Ticket Sales Drop 137 I Ancillary Rights Fund Projects 137
0 Impact/Money Illustration 7.1: Global Box Office Drives Movie Industry Profits 138
Illustration 7.2: Asia/Pacific and Latin America Are Fastest-Growing
Movie Markets 138
Movies at Work 139
Digital Technology Drives the Business 140

Production 140 I Distribution 140 I Exhibition 141
Emerging Markets and Mergers Bring New Opportunities 141

Global Influence 141 IMerging Media Production 141
Hollywood Takes a Roman Holiday . .. Again 142
Television: Switching Channels
E
i Television Transforms Daily Life 148
Illustration 8.1: How Much Time Do People Spend Each Week
! Watching Traditional TV and Internet Video? 150
1
JTV Delivers an Audience to Advertisers 151
1§ Visual Radio Becomes Television 151

Television Outpaces Radio 152
News with Pictures 152 I Entertainment Programming 153
0 Impact/Profile Edward R. Murrow (1908-1965) Sets the Standard for Broadcast
News 154
Quiz Shows Bring Ethics Scandals 155
Ratings Target the Audience 156

0 Impact/Money Illustration 8.2: What Do TV Ratings Mean for Advertisers? 157
Newton Minow Criticizes TV as a "Vast Wasteland" 158
Public Television Finds an Audience 158
Satellites Make Transatlantic TV and Live Broadcasts Possible 159
CO NTENTS xiii
Television Changes National and Global Politics 159
Mergers Affect Station Ownership 160
TV Promotes Professional Sports 160
Critics Challenge the Accuracy of TV Ratings 161
Cable and Satellite Expand Delivery 161
Television at Work 162
Audiences Drive TV Programming 163

The Networks' Shrinking Role 163 I Demand for Diverse Programming 164
Digital Technology Broadens TV's Focus 164

Digital Video Recorders 164 I High-Definition Television, 3-D and 4K
Screens 164
0 Impact/Convergence Netflix Is Betting Its Future on Exclusive
Programming 165
Streaming TV Brings a New Vision 166
Internet Media: Widening the Web

] Digital Communication Transforms Media 172
-<'
§!
Digital Media Support Convergence 174
j
J" 20th-Century Discoveries Made Internet Possible 175
-:: 0 Impact/Convergence Jllustration 9.1: The Evolution of Today's Convergence:
1978 to 2016 175
>=
Web Opens to Unlimited Access 176
What Happens to Old Media? 178
Transformation Takes 30 Years 178
Web Access Leaves Some People Behind 178
Internet Combines Commerce, Information and Entertainment 179

Commerce 179 I Advertising 180 I Content 181
0 Impact/Money Jllustration 9.2: How Much Do Businesses Spend Annually to
Advertise on the Internet? 181
Mobile Media Chase the Audience 182
Social Networks Grow Globally 182

Can Video Games Be a Force for Good? 183
Jllustration 9.3: How and Where Do People Use Mobile
Media? 184
Government Attempts to Coordinate and Control the Net 185
xiv CONTENTS
Illustration 9.4: Why Do People Use Social Media?

Illustration 9.5: Which Social Media Sites Are Most Popular? 186
Protection Sought for Intellectual Property Rights 187

Chinese Access to Gmail Cut, Regulators Blamed 188
FCC Promotes Internet Neutrality 189
Storage, Competing Systems and Security Bring Challenges 190

Storage Capacity 190 I Competing Delivery Systems 191 I System Security 192
Disruptive Technologies Revolutionize Old Concepts 192

Touch Technology 193 I Massive Open Online Courses 193 I Open Intellectual
Property 193 I Camera Drones for News Reporting 193 I 3-0 Printing 194
Consumers Intersect with Technology 194
Advertising: Catching Consumers

I, Advertising Supports Mass Media 200
] Advertising in Newspapers 201
Illustration 10.1: In Which Countries Do Marketers Spend the Most
per Person for Advertising? 201
Advertising in Magazines 202 I Advertising on Radio 202 I Advertising on
Television 202 I Advertising on the Internet 203
Ads Share Three Characteristics 203

0 Impact/Profile The Advertising Networker: Sir Martin Sorrell of WPP 204
Repetition 205 I An Advertising Style 205 I Ubiquity 205
Ads Compete for Your Attention 205

1S Ways Ads Appeal to Consumers 206
Marketers Use Demographics 201
Advertising Feeds Consumerism 201

0 Impact/Money Illustration 10.2: Top 10 Global Advertising Agencies 208
Advertising at Work 208
Mass Media Industries Depend on Advertising 209

Illustration 10.3: Top 10 Advertisers in the United States 210
Commercials on Television 210 I Using Print and Radio 211
Internet Delivers Display, Search and Social Networks 211
Media Compete Fiercely for Clients 212
Federal Government Regulates Advertisers 212

Federal Trade Commission 213 I Food and Drug Administration 213 I Federal
Communications Commission and Other Agencies 213
CO NTENTS XV
0 Impact/Money What It Costs: Ad Prices From TV's Biggest Buys to the

Smallest Screens 214
Global Marketing Delivers New Audiences 215
"
SUJa Public Relations: Promoting Ideas
PR Helps Shape Public Opinion 220
6 PR Pioneer Issues Declaration of Principles 221
: Government Recruits PR Professionals 221
---------~~~~~~~~~~~i;,;;i : Women Join PR Firms 222

Professionals Promote Ethics Codes 222
Public Relations at Work 223

Financial Public Relations 223 I Product Public Relations 223 I Crisis Public
Relations 224
PR Agencies Respond to Social Media 225
PR Companies Monitor Brands 225
Ad Agencies and Public Relations Firms Merge 225

McDonald's Launches Customer Complaint App in
Japan I New Smartphone App for "Feelings, Opinions
and Requests" Aimed at Turning the Tide on a Year
of Public Relations Mistakes 226
0 Impact/Money Jllustration 11.1: Top 10 Worldwide Public Relations
Agencies I Jllustration 11.2: Top 10 U.S. Public Relations Agencies 227
Variety of Clients Use Public Relations 228

Government 228 I Education 228 I Nonprofit
Organizations 228 I Industry 228 I Business 228 I Athletic Teams and
Entertainment Organizations 228 I International 228
0 Impact/Money Susan G. Kamen Foundation Discovers the Price
of Poor Public Relations 229
Public Relations Organizations Offer Many Services 230
Publicity Means Free Media 230
Public Relations Grows Globally 231
xvi CO NTENTS
News and Information: Staying Connected

Early News Organizations Cooperate to Gather News 236
0 Impact/Convergence Young Adults Want News Every Day, Survey Shows 237
€' Civil War Brings Accreditation and Photojournalism 238

~a: Government Accredits Journalists 238 I Photojournalism Is Born 239
Tabloid News Takes Over 239
Newsreels Bring Distant Events to American Moviegoers 239
Newspapers and Radio Personalize World War II 240

0 Impact/Profile Ernie Pyle: The War Correspondent Who Hated War 241
TV News Enters Its Golden Age 242

TV and the Cold War 242 I TV News as a Window on the World 242
TV News Changes the Nation's Identity 243

Vietnam Coverage Exposes Reality 243 I Watergate Hearings Reveal Politics at Work 244
TV News Expands and Contracts 244
Iraq War Produces "Embedded" Reporters 244
Reality Shows and Advertorials Blur the Line 245
Internet Transforms News Delivery 245

Illustration 12.1: Top 10 Digital-Only News Sites
Illustration 12.2: The Growing Market for Mobile News in the United States 246
Information Access Creates a News Evolution 247
Social Media Spread the News 247
Journalists at Work 248
Journalists Channel the Public's Attention 248
How the Public Perceives the Press 248
Credibility Draws the Audience 249
Social and Political Issues:

Shaping the Arguments
Early Mass Media Studies Assess Impact 256
i
] Scholars Look for Patterns 257
ii The Payne Fund Studies 257
Illustration 13.1: Lasswell's Model Asks Five Questions 258
~ The Cantril Study 258 I The Lasswell Model 258
How TV Affects Children's Behavior 258
CO NTENTS xvii
Television in the Lives of Children 259 I Television and Social

Behavior 259 I The Early Window 259 I Television Advertising to
Children 259 I Linking TV to School Performance 260
Do the Mass Media Cause Violence? 260
National Political Campaigns Depend on Mass Media 261

The Fireside Chats 261 I The People's Choice 262 I The Unseeing
Eye 262 I Election Campaigns on Television 263
Cost of Political Advertising Skyrockets 263
Voters and Campaigns Use the Internet and Social Media 264
0 Impact/Money Illustration 13.2: TV Political Campaign Spending in
Presidential Elections, 1972-2012 265
Mass Media Reflect Social Values 266

Silencing Opposing Viewpoints 266 I Losing a Sense of Place 266
0 Impact/Convergence Jllustration 13.3: Number of Voters Who Follow
Political Figures on Social Media Increasing I Illustration 13.4: Voters
Follow Political Figures on Social Media to Stay Current, Connected and
Informed 267
Stereotyping 268
Mass Media Slow to Reflect Ethnic Diversity 268

0 Impact/Profile Barbie Can Be a Computer Engineer ... but Only with
the Help of a Man I '/'// need Steven and Brian's help to turn this into a real
game!' laughs computer programmer Barbie in her new book 269
Hollywood Still Stereotypes Native Americans 270
Mass Media Face Gay, Lesbian and Transgender Issues 271
How to Analyze Media Effects 272
Law and Regulation: Reforming the Rules

1 U.S. Constitution Sets Free Press Precedent 278
: Government Tries to Restrict Free Expression 279
j The Alien and Sedition Laws of 1798 279 I The Espionage Act of 1918 279 I The
Smith Act of 1940 279 I HUAC and the Permanent Subcommittee on
~
i Investigations 279
>-- Excerpts from the 1943 Code of Wartime Practices for
American Broadcasters 280
Prior Restraint Rarely Used 281

Near v. Minnesota 281 I The Pentagon Papers 281 I The Progressive Case 282
Government Manages War Coverage 282

Restricting Press Access in Grenada 282 I News Blackouts and Press Pools During
the Gulf War 282 I War in Afghanistan 283 I "Embedded" Reporters During Iraq
War 283 I Photographs of War Fatalities 283
Copyright 20 17 Cengage Learning. All Rights Reserved. May not be copied, scanned, or d uplicated, in whole or in pan. Due to electronic rights, some third party content may be suppressed from the e Book and/or eChapter(s)
xviii CO NTENTS
WikiLeaks Challenges Government Secrecy 283
USA PATRIOT Act Meets Public Resistance 284
What Is the Standard for Obscenity? 285

Local Efforts 285 I U.S. Supreme Court Writes Obscenity Criteria 286 School
Boards as Censors 286 I The Hazelwood Case 287
Libel Law Outlines the Media's Public Responsibility 287

0 Impact/Profile John Green's The Fault in Our Stars Is Banned, Then Returned to
Riverside, California, Classrooms 288
Sullivan Case Establishes a Libel Landmark 288
Illustration 14.1: 2014 Top 10 Most Frequently
Challenged Books 289
Redefining the Sullivan Decision 290 I Charges and Defenses for Libel 291 I Legal
Outcomes Reflect Mixed Results 291 I Internet Comments Bring SLAPP Suits 292
Invasion of Privacy Defined Four Ways 292

Physical or Mental Solitude 292 I Embarrassing Personal Facts 292 I False
Light 292 I Right of Publicity 293 I Bartnicki v. Vopper 293
Debate Continues over Fair Trial, Courtroom Access and Shield

Laws 293
Fair Trial 293 I Courtroom Access 294 I Shield Laws 294
Jllustration 14.2: Cameras in the Courtroom: A State-by-State
Guide 295
FCC Regulates Broadcast and Cable 295
Telecommunications Act of 1996 Changes the Marketplace 295

Goal: To Sell Consumers "The Bundle" 296 I Targeting the Power User 296
Deregulation Unleashes the Media 296

Created a Goal of Universal Service 297 I Deregulated Free Media 297 I Relaxed
Ownership and Licensing Rules 297 I Encouraged Local Phone
Competition 297 I Ends Cable Rate Regulation 297
TV Industry Agrees to Ratings and the V-Chip 298
Congress Attempts to Control Access to Indecent Content 298

Supreme Court Upholds Internet Filters for Public Libraries 298 I Government
Monitors Broadcast Indecency 299
Intellectual Property Rights Affirmed 300

Digital Millennium Copyright Act 300 I New York Times Co. v. Tasini 301 I Metro-
Goldwyn-Mayer Studios Inc. v. Grokster Ltd. and Arista Records LLC v. Lime Group
LLC 301
FCC Adopts Open Internet Rules 301
Courts and Regulators Govern Advertising and PR 302

Central Hudson Case 302 I Texas Gulf Sulphur Case 303 I Federal Government
Regulates Advertisers 303
Law Must Balance Rights and Responsibilities 304
CO NTENTS xix
Mass Media Ethics: Taking Responsibility

Ethics Define Responsibilities 312
Truthfulness Affects Credibility 313

Fabrications 313 I Plagiarism 314 I Misrepresentation 315
Fake Sheikh Mazher Mahmood: 25 Criminal Convictions
Linked to Undercover Reporter to Be Re-examined 316
Fairness Means Evenhandedness 317

Insider Friendships 317 I Conflicts of Interest 318
0 Impact/Profile Citing Ben Affleck's 'Improper Influence,' PBS Suspends
Finding Your Roots 319
Checkbook Journalism 320
Privacy Involves Respect 320

Private Acts That Become Public 320 I Reporting on Rape 321
Responsibility Generates Trust 321
Five Philosophical Principles Govern Media Ethics 322

Reaction to Uber Tactics Highlights Tech Journalists' Fine
Line Between Critic and Booster 323
Media's Ethical Decisions Carry Consequences 324
Professional Associations Proscribe Behavior 324

Society of Professional Journalists Codifies Conduct 324 I Radio Television
Digital News Association (RTDNA) Code Covers Electronic News 325 I National
Press Photographers Association Addresses Visual Journalism 326 I Interactive
Advertising Bureau Addresses Digital Ads 326 I Public Relations Society of
America Sets Standards 327
Media Organizations Respond to Criticism 327

News Councils 327 I Readers' Representatives 328 I Correction Boxes 328
Professional Codes Preserve Media Credibility 328
Global Media: Communicating Change

World Media Systems Vary 334
Five Political Theories Describe How World Media Operate 335

The Soviet Theory 335 I The Authoritarian Theory 335 I The Libertarian
Theory 336 I The Social Responsibility Theory 336 I The Developmental
Theory 337
Western Europe and Canada Are Similar to the U.S. 337

Print Media 338 I Broadcast Media 338
Copyright 20 17 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in pan. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s)
XX CONTENTS
Eastern Europe Is in Transition 338

Middle Eastern and North African Media Work

Under Government Controls 340
0 Impact/Money Film Studios Respond to European Antitrust Allegations 341
African Media Find a New Voice 342
Media Explode in Asia and the Pacific 343

Japan 343
From Headlines to Hip-Hop: The Ugandan TV Show Rapping the
News 344
Australia 345 I India 345 I People's Republic of China 346
Government, Corporations and Dynasties Control Latin American

and Caribbean Media 346
0 Impact/Money Journalists in China Describe Extortion 347
International New York Times Seeks a Global Audience 348

Critics Cite Western Communications Bias 349
Internet Expands Mass Media's Global Reach 349

0 Impact/Convergence Jllustration 16.1: Top 10 Countries with Public Wireless
Locations (Hot Spots) 350
Mobile Media Open Communications Channels 350
Reporters Risk Lives to Report World Events 351
Global Media Chase International Consumers 351

Reporters Without Borders Monitors Journalists Killed and
Kidnapped in 2014 352
0 Impact/Money Jllustration 16.2: Top 10 Global Advertisers-Annual
Spending 353
Ideas Transcend Borders 354
Glossary 361
Media Information Resource Guide 366
Selected References 374
Index 387
1//////////////////////////////////////////////////////////////////////////
IMPACT BOXES
CHAPTER 1
o lmpacti Illustration 1.1: Average Time Americans Spend Using Mass Media Each Day 4
Illustration 1.2: Elements of Mass Communication 6
0 Impact/Money Illustration 1.3: U.S. Mass Media Industries Annual Income 1987-Today a
O Impact/Convergence How the Global Communications Network Works 17
0 Impact/Convergence The Internet ofThings Is Far Bigger Than Anyone Realizes 20
CHAPTER 2
0 Impact/Convergence E-Book Restrictions Leave "Buyers" with Few Rights 31
O Impact/Money Illustration 2.1: Book Publishing's Six Global Giants 32
O Impact/Money Illustration 2.2: How Do Book Publishers Make Their Money? 34
0 Impact/Convergence The First Bookless Library: BiblioTech Offers Only E-books 35
CHAPTER 3
O Impact/Profile Ida B. Wells Uses Her Pen to Fight 19th-Century Racism 51
Illustration 3.1: Percentage of Adults Who Say They Read a Newspaper Yesterday
(Includes Internet and Mobile Phone Readers) 55
O Impact/Convergence Illustration 3.2: Newspaper Readers Prefer the Printed Paper, But Mobile Access Is
Increasing 57
O Impact/Profile BuzzFeed Co-Founder Jonah Peretti Wants to Take Its Content Far Beyond Lists 59
CHAPTER 4
O Impact/Profile Muckraker Ida Tarbell Exposes Standard Oil's John D. Rockefeller 71
O Impact/Money Illustration 4.1: Top 10 U.S. Consumer Printed Magazines I Illustration 4.2: Top 10 U.S.
Digital Replica Magazines 74
O Impact/Convergence Illustration 4.3: Who Reads Digital Magazines? 76
0 Impact/Money Digital Cracks 50 Percent of Ad Revenue at Wired Magazine I First for the Title Is an
Encouraging Sign for the Industry 79
CHAPTER 5
O Impact/Profile Steve Martin, Lauryn Hill and Radiohead Archived by National Recording Registry 90
0 Impact/Money Illustration 5.1: How Does the Recording Industry Earn Money? 93
Illustration 5.2: Concert Audiences Drive Music Industry Profits 94
O Impact/Glob Primavera Sound Sets the Stage for Music Festivals Worldwide 98
CHAPTER 6
Illustration 6.1: Where Do People Listen to the Radio? 110
O Impact/Money Illustration 6.2: Which Radio Formats Are Most Popular? 116
0 Impact/Convergence Illustration 6.3: Radio Listening Goes Digital and Mobile 118
0 Impact/Convergence Pandora Radio Opens Listener Data to Let Musicians Target Fans 119
xxi
Copyright 20 17 Cengage Learning. All Rights Reserved. May not be copied, scanned, or d uplicated, in whole or in pan . Due to electronic rights, some third party content may be suppressed fro m the e Book and/or eChapter(s)
xxii IM PAC T BOX ES
CHAPTER 7
O Impact/Profile Lighting Up a Black Screen: Early "Race Films" Pioneered the Art of Breaking
Stereotypes 131
0 Impact/Money Illustration 7.1: Global Box Office Drives Movie Industry Profits 138
Asia/Pacific and Latin America Are Fastest-Growing Movie Markets 138
0 lmpact/Glol:. Hollywood Takes a Roman Holiday ... Again 142
CHAPTER 8
Illustration 8.1: How Much Time Do People Spend Each Week Watching
Traditional TV and Internet Video? 150
O Impact/Profile Edward R. Murrow (1908-1965) Sets the Standard for Broadcast News 154
0 Impact/Money Illustration 8.2: What Do TV Ratings Mean for Advertisers? 157
O Impact/Convergence Netflix Is Betting Its Future on Exclusive Programming 165
CHAPTER 9
0 Impact/Convergence Illustration 9.1: The Evolution ofToday's Convergence: 1978 to 2016 175
0 Impact/Money Illustration 9.2: How Much Do Businesses Spend Annually to Advertise on the
Internet? 181
Can Video Games Be a Force for Good? 183
0 lmpact/Soci Illustration 9.3: How and Where Do People Use Mobile Media? 184
Illustration 9.4: Why Do People Use Social Media? I Illustration 9.5: Which Social
Media Sites Are Most Popular? 186
Chinese Access to Gmail Cut, Regulators Blamed 188
CHAPTER 10
Illustration 10.1: In Which Countries Do Marketers Spend the Most per Person for
Advertising? 201
O Impact/Profile The Advertising Networker: Sir Martin Sorrell of WPP 204
0 Impact/Money Illustration 10.2: Top 10 Global Advertising Agencies 208
Illustration 10.3: Top 10 Advertisers in the United States 210
0 Impact/Money What It Costs: Ad Prices From TV's Biggest Buys to the Smallest Screens 214
CHAPTER 11
McDonald's Launches Customer Complaint App in Japan I New Smartphone
App for "Feelings, Opinions and Requests" Aimed at Turning the Tide on a Year of Public Relations
Mistakes 226
0 Impact/Money Illustration 11.1: Top 10 Worldwide Public Relations Agencies I Illustration 11.2:
Top 10 U.S. Public Relations Agencies 227
O Impact/Money Susan G. Komen Foundation Discovers the Price of Poor Public Relations 229
IM PAC T BOX ES xxiii
CHAPTER 12
O Impact/Convergence Young Adults Want News Every Day, Survey Shows 237
O Impact/Profile Ernie Pyle: The War Correspondent Who Hated War 241
Illustration 12.1: Top 10 Digital-Only News Sites I Illustration 12.2: The Growing
Market for Mobile News in the United States 246
CHAPTER 13
Illustration 13.1: Lasswell's Model Asks Five Questions 258
O Impact/Money Illustration 13.2: TV Political Campaign Spending in Presidential Elections,
1972-2012 265
0 Impact/Convergence Illustration 13.3: Number of Voters Who Follow Political Figures on Social
Media Is Increasing I Illustration 13.4: Voters Follow Political Figures on Social Media to Stay
Current, Connected and Informed 267
O Impact/Profile Barbie Can Be a Computer Engineer ... but Only with the Help of a Man I
'I'll need Steven and Brian's help to turn this into a real game!' laughs computer programmer
Barbie in her new book 269
Hollywood Still Stereotypes Native Americans 210
CHAPTER 14
Excerpts from the 1943 Code of Wartime Practices for American Broadcasters 280
O Impact/Profile John Green's The Fault in Our Stars Is Banned, Then Returned to Riverside,
California, Classrooms 288
Illustration 14.1: 2014 Top 10 Most Frequently Challenged Books 289
0 Imp ct/Sodet Illustration 14.2: Cameras in the Courtroom: A State-by-State Guide 295
CHAPTER 15
Fake Sheikh Mazher Mahmood: 25 Criminal Convictions Linked to Undercover
Reporter to Be Re-examined 316
O Impact/Profile Citing Ben Affleck's 'Improper Influence,' PBS Suspends Finding Your Roots 319
Reaction to Uber Tactics Highlights Tech Journalists' Fine Line Between Critic and
Booster 323
CHAPTER 16
O Impact/Money Film Studios Respond to European Antitrust Allegations 341
From Headlines to Hip-Hop: The Ugandan TV Show Rapping the News 344
O Impact/Money Journalists in China Describe Extortion 347
O Impact/Convergence Illustration 16.1: Top 10 Countries with Public Wireless Locations
(Hot Spots) 350
Reporters Without Borders Monitors Journalists Killed and Kidnapped
in 2014 352
0 Impact/Money Illustration 16.2: Top 10 Global Advertisers-Annual Spending 353
Copyright 20 17 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in pan . Due to electronic rights, some third party content may be suppressed fro m the e Book and/or eChapter(s)
///////////////////////////II/////////////////
PREFACE
Welcome to the world of Media/Impact digital "replica" magazines, political figures on social
Media/Impact's energetic new design-inside and media, 10 most frequently challenged books and top
out-reflects the excitement and intensity inherent in the 10 global advertising agencies.
study of mass media today. Dozens of new charts, illus- • Timely Photographs, Cartoons and Illustrations
trations and photographs in this 12th edition enhance the to Capture Students' Attention-More than 230
totally revised and updated text, making Media/Impact, carefully selected new photos, cartoons and illustra-
12th edition, the most current, accessible, challenging tions throughout the book emphasize timely trends
way for students to study the central role that America's and critical topics in today's media business.
mass media play in the global media marketplace.
Accompanying this new edition are many new digital • Impact/Action Videos-Three new Impact/Action
tools offered by Cengage Learning, including MindTap, videos make contemporary issues in mass commu-
to organize and enhance student thinking. The result for nication come alive for students, with customized
students and teachers is Media/Impact's best edition ever. content that expands on the text and animates the
illustrations. Specialized narration accompanies
images and videos to tell the story of how mass com-
New Features in the 12th Edition munication is changing and transforming the world.
• More than 40 new Impact Boxes-The Impact These three Impact/Action videos, matched to chap-
Boxes feature current articles and information on the ters throughout the book, expand student under-
latest topics and trends from the best sources cover- standing of how mass communication affects today's
ing the media business, such as The New York Times, world:
The Washington Post, The Guardian, Wired, CNN, The
Financial Times and the Los Angeles Times. • Learn how social networks are changing
global communication in Social Media: Com-
• Five Impact Box Subject Areas-Impact Boxes municating Change.
are now divided into five essential subject areas: Con-
vergence, Money, Society, Profile and Global. For • Discover the importance of-and dangers
example: facing-journalists reporting from around the
world in Reporters at Risk.
• Impact/Convergence. "Radio Listening Goes
Digital and Mobile." • Explore the mass media's ongoing digital
transformation in Caught in the Net.
• Impact/Money. "What It Costs: Ad Prices
from TV's Biggest Buys to the Smallest
Screens."
Continuing Features
• Impact/Society. "Average Time Americans
Spend Using Mass Media Each Day."
in the 12th Edition
• Impact/Profile. "BuzzFeed Co-Founder
• Comprehensive Coverage of the Latest Trends
in Digital Media. Media/Impact details the latest
Jonah Peretti Wants to Take Its Content Far
innovations and controversies surrounding the Inter-
Beyond Lists."
net, mobile media, video games, intellectual property
• Impact/Global. "Primavera Sound Sets the rights, government regulation and social networks.
Stage for Music Festivals Worldwide."
• Analysis of Changing Delivery Systems for News
• Current Statistics on the Mass Media Industries- and Information. Chapter 9 and Chapter 12 have
Statistical information is beautifully displayed in more proven extremely popular with faculty and students.
than 30 new and updated illustrations to reflect cur- Chapter 9, Internet Media, was first introduced in the
rent research on key issues such as the global box 6th edition, when few people understood how con-
office, 10 most popular social media sites, top 10 U.S. sumers' changing habits would affect the delivery of
xxiv
PREFACE XXV
news and entertainment. In the 12th edition, Chapter Formal Reviewers Keep Media/
9 continues its role as the book's centerpiece, with
critical analysis of the most important developments
Impact's Focus on Students
in today's global media transformation. Chapter 12, A special thank you to the many professors who contributed
News and Information, chronicles the declining audi- valuable ideas in their formal reviews of Media/Impact. I
ence for broadcast news as consumers personalize especially appreciate the extra time and dedicated effort the
their information and use the Internet to stay current, video reviewers gave, which greatly helped shape the new
as well as social media's central role in creating com- concept of Impact/Action Videos as an integral part of
munities and sharing information. Media/Impact for students. The 12th edition's reviewers are:
• Discussion of Current Media Issues. Beginning
with the first graphic illustration in Chapter 1, "Aver- Mary Alice Adams, Louisiana Tech University
age Time Americans Spend Using Mass Media Each Monica Bartoszek, The College of Saint Rose
Day," Media/Impact helps students understand the Richard Cameron, Cerritos College
ubiquitous presence of mass media in their lives today. Kat Cannella, Columbus State University
Michelle Christian, College of Southern Maryland
• Margin Definitions. Designed to help students build Henry Dunn, Austin Peay State University
a media vocabulary while they read, key terms and Doug Ferguson, College of Charleston
definitions are highlighted separately, giving students Amy Lenoce, Naugatuck Valley Community College
concise definitions that are incorporated into the text. Bill Lewis, Alvin Community College
• Comprehensive End-of-Chapter Review. Each Robert McKeever, University of South Carolina
chapter's concluding materials include these essential Judy Noble, City University of New York-Borough of
resources: Manhattan Community College
Pamela O'Brien, Bowie State University
• Chapter Summaries. Organized by headings Dorren Robinson, Belmont University
that correspond to the chapter's major topics, Ted Schwalbe, SUNY Fredonia
Review, Analyze, Investigate uses bullet Richard Tiner, Belmont University
points to summarize major concepts. Nicole Turner, Langston University
• Key Terms. A list of important terms with Sherry Williford, Stephen F. Austin State University
corresponding page numbers appears at the
end of each chapter and in the comprehensive
Glossary at the end of the book. Cengage Teaching and Learning
• Critical Questions. Following the key terms,
Tools for Teachers and Students
five questions focus students' analysis of each
chapter to help deepen their understanding Mi ndTa p. Cengage Learning's MindTap for
and engage their critical thinking skills. Media/Impact brings course concepts to life with inter-
active learning, study and exam preparation tools that
• Working the Web. Finishing each chapter, a list support the printed textbook. Student comprehension
of ten Web sites specific to the chapter includes is enhanced with the integrated eBook and interactive
brief annotations that describe each site and teaching and learning tools including learning objectives,
encourage students to pursue further research. interactive activities, quizzes and-exclusive to Media/
• Media Information Resource Guide. This invalu- Impact-Impact/Action videos. A career guide and social
able student reference beginning on page 366 pro- media guide give students insight into the practical appli-
vides hundreds more resources to help students cations of their coursework.
explore media topics and to assist them with media Instructor's Edition (IE): Examination and desk
research, including an alphabetical listing of more copies of the Instructor's Edition of Media/Impact, 12th
than 200 Web site references from the text. Edition, are available upon request.
xxvi PREFACE
Instructor's Web site:This dedicated online resource the following tools for each chapter: chapter outlines; sug-
for instructors provides access to the Instructor's Manual gestions for integrating print supplements and online
and Microsoft PowerPoint lecture slides covering key resources; suggested discussion questions; handouts for
concepts from the text. There's also a Test Bank powered classroom activities and a comprehensive Test Bank with
by Cognero, a flexible, online system that allows you to an answer key that includes multiple choice, true/false,
author, edit and manage test bank content from Cengage essay and fill-in-the-blank test questions. This Manual is
Learning; create multiple test versions in an instant; and available on the password-protected instructor's Web site.
deliver tests from your Learning Management System, Thank you for your continuing support of Media/
your classroom or wherever you want. Impact. Comments? Questions? Suggestions? Please
Instructor's Manual: Media/Impact's Instructor's contact your local Cengage sales representative or
Manual provides a comprehensive teaching guide featuring our Customer Service Team at (800) 354-9706.
l;I///////////////////////////////////////////////////////////
FOREWORD
Media/Impact, 12th Edition, is a beautiful, engaging book. It was created under an unbe-
lievably tight production schedule and for that I owe many, many thanks to the people at
Cengage, Lachina and Lumina Datamatics who made that work:
At Cengage: Product Manager Kelli Strieby, Associate Content Developer Rachel
Smith, Associate Content Developer Rachel Schowalter, Senior Content Project
Manager Jill Quinn, Senior Art Director Marissa Falco, IP Analyst Ann Hoffman, IP
Project Manager Farah Fard, Marketing Manager Sarah Seymour, Product Assistant
Colin Solan.
At Lachina: Chris Black and Whitney Philipp.
At Lumina Datamatics: Manojkiran Chander and Kanchana Vijayarangan.
Also, thank you to Tom Biondi for his important research assistance.
The greatest additions to the 12th edition lineup are three newly produced Impact/
Action Videos. For the first time, Vic Biondi and I were given the opportunity to create
the videos with the help of the truly exceptional media crew at LAD Post Production:
Producer Scott Back, Associate Producer David Biondi, Video Editor Tom Nichols and
Electronic Production Coordinator Dennis Sherwood. Thank you.
For her enthusiasm and continuing support for the Impact/Action Videos, I thank
Kelli Strieby. Rachel Smith contributed greatly with her dynamic, on-deadline video
coordination. And, as always, my all-time favorite photo researcher and video producer,
Vic Biondi, provided unmatched vision, creative wisdom and a great sense of humor.
And to all the students and teachers who continue to value Media/Impact as a way to
explore the exciting field of mass media, I continue to be very grateful for your enduring
support.
Shirley Biagi
FOREWORD xxvii
////////////////////////////////////////////////I/Ill///////////////////////////
ABOUT THE AUTHOR

SHIRLEY BIAGI is Emeritus Professor in the Department of Communication Studies at
California State University, Sacramento. Her bestselling text, Media/Impact, also is pub-
lished globally in Canadian, British, Spanish, Chinese and Korean editions.
Biagi has authored several other Cengage Learning communications texts, including
Media/Reader: Perspectives on Mass Media Industries, Effects and Issues and Interviews
That Work: A Practical Guide for Journalists. She is co-author, with Marilyn Kern-
Foxworth, of Facing Difference: Race, Gender and Mass Media.
From 1998 to 2000, she was editor of American Journalism, the national media history
quarterly published by the American Journalism Historians Association.
She has served as guest faculty for the University of Hawaii, the Center for Digital
Government, the Poynter Institute, the American Press Institute, the National Writ-
ers Workshop and the Hearst Fellowship Program at the Houston Chronicle. She has
also been an Internet and publications consultant to the California State Chamber of
Commerce.
She also was one of eight project interviewers for the award-winning Washington
(D.C.) Press Club Foundation's Women in Journalism Oral History Project, sponsored by
the National Press Club. Interviewers completed 57 oral histories of female pioneers in
journalism, available free on the Press Club's Web site at http://www.wpcf.org.
Biagi served as a delegate to the Oxford Round Table's conference on Ethical Senti-
ments in Government at Pembroke College in Oxford, England. Her other international
experience includes guest lectureships at Al Abram Press Institute in Cairo, Egypt, and
at Queensland University in Brisbane, Australia.
xxviii
d" such ass mart phones, .
Today's mobile me 1a, ts of everyday life.
falelemen
have become essen 1 . New York's Times
5 group in
On Janu ary 1' 201 'a"Phone to take a "selfie" to
Square uses their new 1
mar k the occasion.
2 PART ONE THE MASS MEDIA INDUSTRIES
Mass Media Are Mass Media Are Profit- Media Take Advantage
Everywhere You Are Centered Businesses of Digital Delivery
Mass Communication Convergence Dominates How Today's Communications
Becomes Wireless the Media Business Network Operates
How the Communication Why Media Properties Mass Media Both Reflect
Process Works Converge and Affect Politics,
Society and Culture
What Are the Mass Advertisers and Consumers
Media Industries? Pay the Bills Why You Should Understand
Mass Media and Everyday Life
Three Key Concepts Technology Changes
to Remember Mass Media Delivery
and Consumption
"(The Internet of Things) is going to create disruption and opportunity

in every imaginable field, and it's entirely up to you whether you're
going to be one of the disrupted or the disruptors."
- DAN IEL BU RR US. CEO AN DFOUN DER OF BU RR US RESEARC H. TECHNO LOGY FORECAS TE RAN DINN OVATI ON EXPER T
You are interactive-connected to mass media than three-fourths of their waking hours. (See Illustra-
in a more personal way than ever before. At the tion 1.1, p. 4.) Some form of mass media touches you
center of your personal, interactive connections today every day-economically, socially and politically. Mass
is the Internet, where mass media and social media are media can affect the way you vote and the way you spend
waiting to bombard you every waking hour. When was the your money. Sometimes mass media influence the way
last time you spent 24 hours without the media? From the you eat, talk, work, study and relax. This is the impact
moment you wake up until the time you go to sleep, mass of mass media on you individually and, collectively, on
media and social media overwhelm you with news and American society.
information, keep you entertained and-most importantly The media's wide-ranging global presence means
for the mass media industries-sell you products. today's mass media capture more time and attention
than ever. The media affect almost all aspects of the
way people live, and the media earn unprecedented
Mass Media Are Everywhere amounts of money for delivering information and
You Are entertainment.
Today's American society has inherited the wisdom,
Online news offers national and local news with constant mistakes, creativity and vision of the people who work in
updates and alerts for breaking stories. Radio news gives the mass media industries and the society that regulates
you traffic reports on the freeway. Magazines describe and consumes what the mass media produce. Consider
new video games, show you the latest fashion trends and these situations:
help plan your next hiking trip.
Should you power up your Kindle to read the lat- • You are an executive with city government working
est romance novel or stream a video on your iPad from with a limited budget, trying to expand access to the
Netflix? Maybe you should grab your iPhone to check local public library. How can you use technology to
Facebook or use your CBS app to catch up on the latest help maximize the library's reach? (See Chapter 2 .)
episode of your favorite TV sitcom. Perhaps you should • A friend texts you a link to new song from your favor-
check Snapchat for the latest ten-second photo message ite recording artist, which you download and use
from your friends or use Spotify to find the newest release on your Web site. The music works great, but the
from your favorite music artist. artist's licensing company sues you because you
According to industry estimates, adults spend an aver- haven't paid to use the song. Will you be prosecuted?
age of 12 1/2 hours each day using mass media-more (See Chapter 5 .)
3
* 3500 B.C. The first known pictographs are carved in stone.
2500 B.C. The Egyptians invent papyrus.
1000 B.C. The First Information Communications Revolution: Phonetic Writing
200 B.C. The Greeks perfect parchment.
A.D.100 The Chinese invent paper.
1300 Europeans start to use paper.
1445 The Chinese invent the copper press.
1455 The Second Information Communications Revolution: Movable Type
1640 The first American book is published.
1690 The first American newspaper is published.
1741 The first American magazine is published.
1877 Thomas Edison first demonstrates the phonograph.
1899 Guglielmo Marconi first uses his wireless radio.
1927 The Jazz Singer, the first feature-length motion picture with sound,
premieres in New York City.
* 1939 NBC debuts TV at the New York World's Fair. On display are 5-inch and
9-inch television sets priced from $199.50 to $600.
1951 The Third Information Communications Revolution: Digital Computers

That Can Process, Store and Retrieve Information
1980 The Federal Communications Commission begins to deregulate the

broadcast media.
1989 Tim Berners-Lee develops the first Internet Web browser.
2007 Amazon introduces the Kindle e-reader. Apple introduces the iPhone.
2008 Internet advertising income reaches $23 billion annually, more than twice
what it was in the year 2000.
2010 Apple introduces the iPad tablet.
2013 Wearable technology, including the Smartwatch, debuts.
2014 Facebook has 1.4 billion users. Twitter reaches 300 million. Snapchat
boasts 100 million.
2015 Internet advertising income reaches $51 billion annually.
* TODAY Wireless digital technology is the standard for all mass media.
Mass media are interactive and mobile.
Copyright 2017 Cengage Learning. All Rights Reserved. May ot be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppresse<l from the eBook and/or eChapter(s).
Editorial review bu deemed that any suppreaed CODleat does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
ILLUSTRATION 1.1
Average Time
Americans Spend
Using Mass Media
Each Day
On average, Americans
t 1,440
Minutes
spend more waking time

each day with the mass
media than without them.
748
Minutes
475
Minutes
Advertising Age Marketing Fact Pack

216
2015, "Time Spent Using Media," Minutes
December 29, 2014, p. 17
• You work for an advertising agency that wants to use so the family could listen to the programs. In the 1950s,
Twitter to create enthusiasm for a new product. What you had to add an antenna to your roof so you could watch
would you recommend as the best way to be most suc- your new TV set, which was connected at the wall to an
cessful on social media? (See Chapter 10.) electrical outlet and the antenna. To be wired was to be
• You are an anchor for a major news organization. Dur- connected. In the 1990s, you still needed an electrical
ing several public appearances you exaggerate the outlet at home and at work to be connected to your com-
danger you faced reporting from a war zone. How does puter, and the furniture in your family room at home was
your company respond when it learns what you've arranged to accommodate the cable, satellite and/or tele-
done? (See Chapter 15.) phone connection for your television set.
Today's technology makes mass media wireless
People who work in the media industries, people who (Wi-Fi, an abbreviation for Wireless Fidelity). New tech-
own media businesses, people who consume media and nologies give you access to any mass media in almost any
people who regulate what the media offer face decisions location without wires. You can:
like these every day. The choices they make continue to
shape the future of the American mass media. • Check Twitter for public officials' comments on
news events.
Mass Communication
Becomes Wireless Wi-Fi An abbreviation for Wireless Fidelity, which
In the 1930s, for you to listen to the radio, your house makes it possible to transmit Internet data wirelessly
to any compatible device.
needed electricity. You plugged your radio into an elec-
trical outlet, with the furniture positioned near the radio
Copyright 201 7 Ccngagc Leaming. All Rights Reserved. May not be copied, scanned, or duplicated, in who le or in part. Due to electronic ri ghts, some third party content may be suppressed from the c Book and/or cChaptcr(s)
CHAPTER 1 MASS MEDIA AND EVERYDAY LIFE 5
• Stream a first-run movie or a classic TV sitcom and eventually this communications system will be acces-
or download new and classic books-even your sible and affordable everywhere in the world.
textbook-to a mobile device you carry with you.
• Play the newest video game on your smartphone How the Communication
with three people you've never met.
Process Works
• Check your family ancestry to create an online fam-
To understand mass media in the digital age, first it is
ily tree, leading you to connect with overseas relatives
important to understand the process of communication.
you didn't know existed.
Communication is the act of sending messages, ideas and
• Stop on the street corner in a new town, use your opinions from one person to another. Writing and talking
smartphone to find the closest Italian restaurant, then to each other are only two ways human beings communi-
order pizza ahead on the restaurant's Web site so it's cate. We also communicate when we gesture, move our
ready when you arrive there. bodies or roll our eyes.
You and your mass media are totally mobile. Today's Three ways to describe how people communicate are
digital environment is an intricate, webbed network of • Intrapersonal communication
many different types of communications systems that
connects virtually every home, school, library and busi-
• Interpersonal communication
ness in the United States and around the world. Most • Mass communication
of the systems in this digital environment are invisible.
Each form of communication involves different num-
Electronic signals have replaced wires, freeing people
bers of people in specific ways. If you are in a grocery
to stay connected no matter where or when they want to
store and you silently debate with yourself whether to
communicate.
buy an apple or a package of double-chunk chocolate chip
This global communications system uses broadcast,
cookies, you are using what scholars call intrapersonal
telephone, satellite, cable and electronic technologies,
communication-communication within one person.
To communicate with each other, people rely on their
five senses-sight, hearing, touch, smell and taste. This
direct sharing of experience between two people is called
interpersonal communication. Mass communication
is communication from one person or group of persons
through a transmitting device (a medium) to large audi-
ences or markets.
In Media/Impact you will study mass communication.
To describe the process of mass communication, schol-
ars use a communications model. This includes six key
terms: sender, message, receiver, channel, feedback and
noise. (See Illustration 1.2, p. 6.)
Pretend you're standing directly in front of someone
and say, "I like your Detroit Tigers hat." In this simple
communication, you are the sender, the message is
"I like your Detroit Tigers hat" and the person in front of
you is the receiver (or audience). This example of inter-
personal communication involves the sender, the mes-
sage and the receiver.
_§
In mass communication, the sender (or source) puts the
~
-;, message on what is called a channel. The sender (source)
"a,
:!l! could be a local business, for example. The channel (or
~
-;;,
]
.5
Mass Communication Communication from one

On February 8, 2015, British singer Sam Smith collected four
person or group of persons through a transmitting
Grammys. If a friend texts you a link to Smith's latest hit song,
device la medium) to large audiences or markets .
and you use it on your Web site without permission, can you
be prosecuted for violating music copyright?
6 PART ONE THE MASS MEDI A INDU STRIE S
ILLUSTRATION 1.2
Elements of Mass
Communication
The process of mass
communication works
like this: A sender
(source) puts a message
on a channel (medium)
that delivers the
message to the receiver.
Feedback occurs when
the receiver responds,
and that response
changes subsequent
messages from the
source. Noise (such
as static or a dropped
connection) can interrupt
or change the message © (engage Lea rning 2015
during transmission.
medium) delivers the message (electronic signal). The 1. A message is sent out on some form of mass com-
channel could be the cable, satellite or Internet provider. munication system (such as the Internet, print or
A medium is the means by which a message reaches an broadcast).
audience. (The plural of the word medium is media; the
2. The message is delivered rapidly.
term media refers to more than one medium.) Your tele-
vision set, computer or mobile device is the medium that 3. The message reaches large groups of different kinds of
delivers the message simultaneously to you and many people simultaneously or within a short period of time.
other people.
So a telephone conversation between two people does not
The receiver is the place where the message arrives,
qualify as mass communication, but a message from the
such as you, the consumer. Noise is any distortion (such president of the United States, broadcast simultaneously
as static or a briefly interrupted signal) that interferes
by all of the television networks and streamed live via the
with clear communication. Feedback occurs when the
Internet, would qualify because mass media deliver mes-
receiver processes the message and sends a response
sages to large numbers of people at once.
(such as a survey) back to the sender (source).
As a very simple example, say your satellite com-
pany (sender/source) sends an ad for a new movie
release (the message) through the signal (channel)
into your TV set (medium). If you (the receiver) use the Medium The means by which a message reaches
the audience. Also, the singular form of the word
controls on your TV remote to stream the movie , the
media .
order you place (feedback) ultimately will bring you a
movie to watch. This entire loop between sender and Media Plural of the word medium.
receiver, and the resulting response (feedback) of the Noise Distortion [such as static) that interferes with
clear communication.
receiver to the sender, describes the process of mass
communication. Feedback A response sent back to the sender from
the person who receives the communication.
Using a general definition, mass communication today
shares three characteristics:
Copyright 201 7 Ccngagc Leaming. All Rights Reserved. May not be copied, scanned, or d uplicated, in who le or in part . Due to electronic ri ghts, some third part y content may be suppressed from the c Book and/or cChaptcr(s)
Editori al review has deemed that any suppressed content does not materiall y affect the overall learning experience. Ccngagc Leaming reserves the right to remove addit ional content at any time if subsequent rights restrictions requ ire it
Books
Publishers issue about 200,000 titles a year in the
United States, although many of these are reprints
and new editions of old titles. Retail bookstores in
the United States account for one-third of all money
earned from book sales, but the majority of books
are sold online. The rest of book publishing income
comes from books that are sold in college stores,
through book clubs, to libraries and to school dis-
tricts for use in elementary and high schools.
U.S. book publishing, the country's oldest
media industry, has been revived recently by the
introduction of e-books (downloaded copies of tra-
ditional books), transforming the book publishing
business from print-only sales to print-and-digital
online sales.
Wireless technology means you can carry your media with you and
send and receive messages globally. In Queenstown, Singapore,
people use their cell phones to try to get a picture of Britain's Prince Newspapers
William and his wife, Catherine, the Duchess of Cambridge, during Newspapers today are struggling to make a
their visit to the country on September 12, 2012. profit. Advertising revenues in the last ten years
have plummeted, primarily because newspaper readers
have migrated to other sources for their news. Between
2008 and 2010, eight major newspaper chains declared
What Are the Mass Media bankruptcy, and many laid off reporters and cut salaries.
Industries? Advertising makes up more than two-thirds of the
The term mass media industries describes eight printed space in daily newspapers. Most newspapers
types of mass media businesses. The word industries, have launched Internet editions to try to expand their
when used to describe the media business, emphasizes reach, and a few newspapers have converted to online-
the primary goal of mass media in America-to generate only publication, but increased Internet ad revenue has
money (see Illustration 1.3, p. 8). not compensated for advertising declines in the printed
The eight mass media industries are product.
• Books
Magazines
• Newspapers
According to the Association of Magazine Media,
• Magazines 75 percent of magazine readers still prefer the printed
magazine, although 16 percent read their magazines on
• Recordings
a computer and 9 percent read the magazine on a tablet
• Radio or smartphone. To maintain profits, magazines are rais-
ing their subscription and single-copy prices and charg-
• Movies
ing for online access.
• Television Many magazines have launched Internet editions,
and a few magazines (such as Slate) are published exclu-
• The Internet
sively online. Still, magazine subscriptions and news-
Books, newspapers and magazines were America's stand sales are down. Magazine income is expected
only mass media for 250 years after the first American to decline over the next decade, primarily because a
book was published in 1640. The first half of the 20th cen-
tury brought 4 new types of media-recordings, radio,
movies and TV-in fewer than 50 years. The late-20th-
century addition to the media mix, of course, is the Inter- Mass Media Industries Eight types of media
net. To understand how each medium fits in the mass businesses : books, newspapers, magazines,
media industries today, you can start by examining the recordings, radio, movies, television and the Internet.
individual characteristics of each media business.
Copyright 2017 Cengage Learning. All Rights Reserved . May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppresstxl from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to re move additional content at any time if subsequent rights restrictions require it.
IMPACT
ILLUSTRATION 1.3
U.S. Mass Media

Industries Annual
Income 1987-Today
This historical graphic
shows how the distribution
of media industry income
since 1987 has shifted
from print media (books,
newspapers and magazines)
to television and the
Internet.
55% 49%
Print Industries Print Industries
14%
Newspapers***
Books*****
Magazines***
Sources: US. Industrial Outlook 1987;
Mccann-Erickson Insider's Report
30% *
**
Broadcast, cable & satellite
Includes Internet downloads
1987; The Veronis, Suh/er & Associates Print Industries *** Includes Internet editions
Communications Industry Forecas t, **** Internet advertising revenue
1997-2001; Advertising Age Marketing
Fac t Pack, December 29, 201 4;
publishers .erg; mpaa .org; naa .org;
Today *****
******
Includes e-book sales
Broadcast & satellite
ada ge.com; riaa .org; ia b. org
significant portion of magazine advertising revenue has Radio

migrated to the Internet. About 15,000 radio stations broadcast in the United
States, with fewer AM stations than FM. About 4,000
Recordings radio stations are public stations, most of them FM.
Recording industry revenue overall is declining. CDs The satellite radio service Sirius XM generates revenue
account for one-third of industry revenue, while digital through subscriptions, offering a variety of music and
downloads, subscriptions and streaming account for the program choices without commercials.
rest. Industry income has been declining sharply because As a result, broadcast radio revenue from advertising
new technologies allow consumers to share music over is declining because the price of a commercial is based
the Internet rather than pay for their music. Instead of on the size of the audience, which is getting smaller.
selling albums , as in the past, artists must rely on sales of To expand their audience, many traditional radio sta-
singles, which of course bring in less revenue. tions distribute their programs online. The Internet radio
Copyright 20 17 Ccngagc Leaming. All Rights Reserved. May not be copied, scanned, or d uplicated, in who le or in part. Due to electronic ri ghts, some third party content may be suppressed from the c Book and/or cChaptcr(s)
CHAP TER 1 MASS MEDIA AND EVERYDAY LIFE 9
services Pandora, Rhapsody and Spotify have also sto-

len younger listeners from traditional radio stations.
Movies
There are about 40,000 indoor movie screens in the
U.S., and, surprisingly, about 600 outdoor screens still
exist. The major and independent studios combined
make about 500 pictures a year. The industry is col-
lecting more money because of higher ticket prices,
but more people watch and stream movies at home
rather than go to theaters, so the number of movie
u
theaters is declining. E
Fewer people are buying DVDs and instead are ~
getting movies through Redbox and streaming I

them through services like Netflix. The increased ~e
income to the U.S. movie industry has been primar- "'.§ ~ppart11lly they hand out awards far some.thing ca/ltd 'telnJision~ •,.
ily from overseas movie sales and streaming. Overall
movie industry income began declining in 2005, and
that trend continued until 2012. Since then industry services, such as shopping and social networking, and a
income has stabilized. place for businesses to sell their products using advertis-
ing and product promotion.
Television
About 1,700 television stations operate in the U.S. One out of Three Key Concepts
four stations is a public station. Many stations are affiliated to Remember
with a major network-NBC, CBS, ABC or Fox-although
a few stations, called independents, are not affiliated with The mass media are key institutions in our society.
any network. More than 90 percent of the homes in the They affect our culture, our buying habits and our poli-
United States are wired for cable or satellite delivery. To tics. They are affected in turn by changes in our beliefs,
differentiate cable and satellite TV from over-the-air televi- tastes, interests and behavior. Three important concepts
sion, cable and satellite television services are now lumped can help to organize your thinking about mass media and
together in one category, called subscription television. their impact on American society:
TV network income is increasing while income to 1. The mass media are profit-centered businesses.
cable operators and satellite companies for subscription
services has stabilized. Recently, the television networks 2. Technological developments change the way mass
have all invested heavily in subscription TV programming. media are delivered and consumed.
The nation's largest cable operator is Comcast Corp. In 3. Mass media both reflect and affect politics, society
2014, Comcast bought Time Warner Cable. AT&T began and culture.
offering subscription television services through its
U-verse system in 2008, and in 2015 AT&T bought satel-
lite provider DirecTV. Total television industry revenue- Mass Media Are Profit-Centered
including cable, satellite and fiber delivery-continues to Businesses
grow steadily.
What you see, read and hear in the mass media may
tease, entertain, inform, persuade, provoke and even con-
The Internet
fuse you. But to understand the American mass media,
The newest media industry also is growing the fastest. the first concept to grasp is that the central force driv-
About 80 percent of all U.S. adults have Internet access, ing the media business in America is the desire to make
and the amount of money businesses spent for Internet money. American media are businesses, vast businesses.
advertising, which totaled $8 billion in 2000, is projected
to reach to $51 billion in 2015.
Internet media have become a new mass medium as Subscription Television A new term used to
well as an integrated delivery system for traditional print, describe consumer services delivered by cable and
audio, video and interactive services (such as streaming). satellite.
The Internet also offers access to many other consumer
called concentration of ownership, takes four differ-

ent forms: chains, broadcast networks, conglomerates
and vertical integration.
CHAINS. Benjamin Franklin established America's first
newspaper chain in the 1700s, when he was publishing his
own newspaper, the Pennsylvania Gazette, as well as spon-
soring one-third of the cost of publishing the South Caro-
lina Gazette. (He also collected one-third of the South Caro-
lina Gazette's profits.) William Randolph Hearst expanded
this tradition in the 1930s. At its peak, the Hearst newspa-
per chain accounted for nearly 14 percent of total national
daily newspaper sales and 25 percent of Sunday sales.
Today's U.S. newspaper chain giant is Gannett Co., with 82
daily newspapers, including USA Today. The word chain is
used to describe a company that owns several newspapers.
BROADCAST NETWORKS. A broadcast network is
a collection of radio or television stations that offers pro-
American mass media are very popular overseas,
representing substantial income potential for U.S. media grams during designated program times. Unlike news-
companies. On February 15, 2015, the SpongeBob paper ownership (which is not regulated by the govern-
SquarePants movie premiered at the Cinema Gaumont ment), the Federal Communications Commission (FCC)
Capucines in Paris, France. regulates broadcast station ownership and operations. The
FCC is a government regulatory body whose members are
The products of these businesses are information and appointed by the president.
entertainment that depend on attracting an audience of The four major TV networks are ABC (American Broad-
media consumers to generate income. Of course, other casting Co.), NBC (National Broadcasting Co.), CBS (orig-
motives shape the media in America: the desire to ful- inally the Columbia Broadcasting System) and Fox. NBC,
fill the public's need for information, to influence the the oldest network, was founded in the 1920s. NBC and
country's governance, to disseminate the country's cul- the two other original networks (CBS and ABC) first were
ture, to offer entertainment and to provide an outlet for established to deliver radio programming across the coun-
artistic expression. But American media are, above all, try and continued the network concept when television
profit-centered. was invented. Fox is the youngest major network, founded
To understand the mass media industries, it is essential in 1986, and delivers only television programming.
to understand who owns these important channels of com- Broadcast networks can have as many affiliates as
munication. In the United States, all media are privately they want. Affiliates are stations that use network pro-
owned except the Public Broadcasting Service (PBS) and gramming but are owned by companies other than the net-
National Public Radio (NPR), which survive on government works. No network, however, can have two affiliates in the
support, private donations and corporate sponsorship. The same geographic broadcast area, due to government regu-
annual budget for all of public broadcasting (PBS and NPR lation of network affiliation.
combined) is less than 2 percent of the amount advertisers In 2006, the TV networks announced they would offer
pay every year to support America's commercial media. shows on demand. Apple and Disney agreed to make
In some media industries, the same number of compa- series programming available through video downloads.
nies control ownership today as in the 1950s. There are One month later, CBS and NBC announced they planned
five major movie studios today, for example, compared to to offer series programs on demand through Comcast
the same number of major studios in the 1940s. The num-
ber of broadcast stations and the number of magazines
has increased since the 1940s, but the number of newspa- Concentration of Ownership The current
pers and recording companies has declined. trend of large companies buying smaller companies
Overall, American media ownership has been con- so that fewer companies own more types of media
businesses.
tracting rather than expanding. This is because large
companies are buying small companies. The trend is FCC Federal Communications Commission .
for media companies to cluster together into big groups, Affiliates Stations that use network programming
which means that a small number of companies now but are owned by companies other than the networks.
control many aspects of the media business. This trend,
Gannett is a newspaper chain that is also a vertically inte-

grated company.
The media company Viacom owns MTV, Comedy
Central, Nickelodeon and Black Entertainment Tele-
vision (BET). The Walt Disney Co. owns Disneyland
amusement parks, Walt Disney Motion Pictures Group,
the ABC TV network, the ESPN cable network and
ESPN- The Magazine. Time Warner owns Warner Bros.
Pictures, HBO, Turner Broadcasting, CNN, TNT, TBS
and the Cartoon Network.
Convergence Dominates the

Media Business
To describe the financial status of today's media indus-
tries is to talk about intense competition. Media compa-
nies are buying and selling each other in unprecedented
numbers and forming media groups to position them-
1 selves in the marketplace to maintain and increase
;;; their income. Since 1986, all three original TV networks
i'is (NBC, CBS and ABC) have been sold to new owners-
i
"'
sometimes more than once-making each of the three
original networks smaller parts of giant publicly owned
u
media companies.
CBS is one of the original U.S. broadcast networks and Fox Broadcasting Co. is part of a larger international
earned an early reputation as the nation's best TV news media company, Rupert Murdoch's News Corp., which
operation, beginning in the 1960s. In 1968, CBS news anchor
Walter Cronkite reported on the Tet Offensive in Vietnam.
also owns The Wall Street Journal, TV stations, maga-
zines and Twentieth Century Fox Film Corp. In 2013, the
leading cable operator Comcast acquired full ownership
and DirecTV. Today broadcast network programming is of NBC Universal, with its cable channels, theme parks
available by streaming on all mobile media, such as smart- and the NBC broadcast network. Since shares in most
phones and tablets. To generate revenue, the broadcast net- of today's media companies are publicly traded on the
works today take the programming to their viewers instead nation's stock exchanges, they face heavy pressure to
of waiting for viewers to come to them. deliver hefty profits to their shareholders.
CONGLOMERATES. When you watch a Sony Pic- Media companies today also are driven by media
tures Entertainment film or listen to Sony music, you convergence. The word convergence describes two
might not realize that Sony also owns Micronics, a medi- developments taking place simultaneously. First, it
cal diagnostics company. Sony is a conglomerate- means the melding of the communications, computer and
a company that owns media companies (Sony Pictures
Entertainment, Sony Music Entertainment and Sony Elec-
tronics) as well as other businesses that are unrelated to the
Conglomerates Companies that own media
media business.
companies as well as businesses that are unrelated to
VERTICAL INTEGRATION. Another widespread the media business.
trend among today's media companies is vertical
Vertical Integration An attempt by one company
integration-a business model in which one company to simultaneously control several related aspects of
controls several related aspects of the media business at the media business.
once, with each part of the company helping the others. Convergence The melding of the communications,
Many media companies own more than one type of media computer and electronics industries . Also used to
property: newspapers, magazines, radio and 1V stations, describe the economic alignment of the various media
for example. companies with each other to take advantage of
technological advancements .
Gannett, which owns the nation's largest chain of
newspapers, also owns television and radio stations, so
broadcast company to own only five TV stations, five AM

radio stations and five FM radio stations. Companies also
were required to keep a station for three years before the
owners could sell it.
The post-1980 FCC eliminated the three-year rule
and raised the number of broadcast holdings allowed for
one owner. Today, there are very few FCC restrictions on
broadcast media ownership.
_§
€
\2.
Why Media Properties Converge
~
1 Ownership turnover is highest in the newspaper and
'.i broadcast industries. Six factors have affected the eco-
~ nomic alignment of these properties:
§;_
;,2
1. Media properties can be attractive investments. Many
The Walt Disney Company is a vertically integrated media broadcast companies have historically earned profits
corporation-a company that owns several different types of
of 10 percent or more a year, for example, which is
media businesses, with each part of the company contributing
to the others. On April 15, 2013, Mickey, Minnie and Goofy about double the average amount that a U.S. manufac-
helped celebrate the 30th anniversary of Tokyo Disneyland. turing company earns.
2. Newspapers and broadcast stations are scarce com-
electronics industries because of advances in digital tech- modities. Because the number of newspapers has
nology. Second, convergence also means the economic been declining and the government regulates the
alignment of different types of media companies with number of broadcast stations that are allowed to oper-
each other so they can offer the variety of services that ate, a limited number of established media outlets are
technical advancements demand. available. As with all limited commodities, this makes
The people who manage U.S. media companies today them attractive investments.
want to make money. As in all industries, there are people
who want to make money quickly and people who take 3. Newspapers and broadcast stations have moved past
the long-term view about profits, but certainly none of their early cycle of family ownership. If the heirs to
them wants to lose money. One way to expand a company the founders of a family business are not interested
to take advantage of technological and economic conver- in running the company, the only way for them to col-
gence is to acquire an already established business that's lect their inheritance is to sell the business, and the
successful. Such media acquisitions have skyrocketed for only companies with enough money to buy individual
two reasons-public ownership and deregulation. media businesses are large corporations and invest-
PUBLIC OWNERSHIP. Most media companies today ment companies.
are publicly traded, which means their stock is sold on one 4. Newspapers and broadcast stations are easier busi-
of the nation's stock exchanges. This makes acquisitions nesses to buy than to create. Because these busi-
relatively easy. A media company that wants to buy another nesses require huge investments in equipment and
publicly owned company can buy that company's stock people, they are expensive to start up. In broadcast-
when the stock becomes available. ing, the major factor that encouraged ownership
The open availability of stock in these public com- changes, beginning in the 1980s, was deregulation.
panies means any company or individual with enough This allowed investors who had never been in the
money can invest in the American media industries, broadcast business before to enter the industry, using
which is exactly how Australian Rupert Murdoch, owner bank loans to pay for most of their investment. Some
of Fox Broadcasting, joined the U.S. media business and new owners of broadcast media companies see these
was able to accumulate so many media companies in such
a short time.
DEREGULATION. Beginning in 1980, the Federal
Communications Commission gradually deregulated the Deregulation Government action that reduces
broadcast media. Deregulation means the FCC with- government restrictions on the business operations
drew many regulatory restrictions on broadcast media of an industry.
ownership. Before 1980, for example, the FCC allowed a
Copyright 2017 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic righ~, some third party_c_ontent may be suppr~s~ from the eB°?k and/or ~~hapter(s): .
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the nght to remove add1t1onal content at any lime 1f subsequent nghts restnct1ons requrre tt.
companies the way they would look at any business- Advertisers and Consumers
hoping to invest the minimum amount necessary.
They hold onto the property until the market is favor-
Pay the Bills
able, planning to sell at a huge profit. Most of the income the American mass media industries
collect comes from advertising. Advertising directly
5. In the 1990s, the introduction of new technologies,
supports newspapers, radio and television. Subscribers
especially the Internet, changed the economics of
actually pay only a small part of the cost of producing a
all the media industries. Each industry had to adapt
newspaper. Advertisers pay the biggest portion. Maga-
to the Internet quickly, and the fastest way to gain
zines receive more than half their income from advertis-
Internet expertise was to buy a company or to invest
ing and the other portion from subscriptions. Income for
in a company that already had created an Internet
movies, recordings and books, of course, comes primar-
presence or a successful Internet product.
ily from direct purchases and ticket sales.
6. The economic downturn that began in 2007 hit the This means that companies that want to sell you prod-
newspaper business especially hard. Heavily depen- ucts pay for most of the information and entertainment
dent on real estate advertising and classifieds and you receive from the Internet, TV, radio, newspapers and
challenged by the dynamics of the Internet, many magazines. You support the media industries indirectly
publicly owned newspaper companies began losing by buying the products that advertisers sell. General
money at an unprecedented rate. This fall in profits Motors Corp. and AT&T each spend more than $3 billion
drove their stock prices to new lows, which made them a year on advertising. Multiply the spending for all this
vulnerable to takeovers and buyouts as the companies advertising for all media, and you can understand how
struggled to survive. Several newspaper companies, easily American media industries accumulate $200 bil-
such as the Tribune Company (which publishes the lion in annual revenue.
Chicago Tribune and the Los Angeles Times), filed for You also pay for the media directly when you buy a book
bankruptcy protection, and in 2013 the investors who or a video game or go to a movie. This money buys equip-
owned the Tribune Company put it up for sale. ment, underwrites company research and expansion, and
pays stock dividends. Advertisers and consumers are
Supporters of concentrated ownership and conver- the financial foundation for American media industries
gence say a large company can offer advantages that because different audiences provide a variety of markets
a small company could never afford-training for the for consumer products.
employees, higher wages and better working conditions.
The major arguments against the concentration and
convergence of group ownership are that concentration Technology Changes Mass
of so much power limits the diversity of opinion and the Media Delivery and Consumption
quality of ideas available to the public and reduces what
scholars call message pluralism. More than 40 years The channels of communication have changed dramati-
ago, Ben H. Bagdikian, dean emeritus, Graduate School cally over the centuries, but the idea that a society will
of Journalism at the University of California, Berkeley, pay to stay informed and entertained is not new. In Impe-
described how the loss of message pluralism can affect rial Rome, people who wanted to find out what was going
every aspect of communication: on paid professional speakers a coin (a gazet) for the
privilege of listening to the speaker announce the day's
It has always been assumed that a newspaper article events. Many early newspapers were called gazettes to
might be expanded to a magazine article which could reflect this heritage.
become the basis for a hardcover book, which, in The history of mass communication technology involves
turn, could be a paperback, and then, perhaps a TV three information communications revolutions: phonetic
series and finally, a movie. At each step of change an writing, printing and computer technology. (See Time-
author and other enterprises could compete for entry Frame, p. 3.)
into the array of channels for reaching the public
mind and pocketbook. But today several media giants
own these arrays, not only closing off entry points for
competition in different media, but influencing the
choice of entry at the start. Message Pluralism The availability to an
audience of a variety of information and entertainment
Today, ownership concentration is an ongoing trend in sources .
the media business.
Phonetic Writing: The First Information

Communications Revolution
Early attempts at written communication began modestly
with pictographs. A pictograph is a symbol of an object
used to convey an idea. If you have ever drawn a heart
with an arrow through it, you understand what a picto-
graph is. The Sumerians of Mesopotamia carved the first
known pictographs in stone in about 3500 B.C.
The stone in which these early pictographic messages
were carved served as a medium-a device to transmit
messages. Eventually, people imprinted messages in
clay, and then they stored these clay tablets in a primitive
version of today's library. These messages weren't very The Gutenberg Bible, published by Johannes Gutenberg in
portable, however. Heavy clay tablets don't slip easily into Germany in 1455, was the first book printed using movable
someone's pocket. type. Although the printing was done mechanically, hand-
In about 2500 B.C., the Egyptians invented papyrus, a colored decorative drawings (called illuminations) often
type of paper made from a grasslike plant called sedge, were added to artistically enhance the text.
which was easier to write on, but people still communi-
cated using pictographs. for them. In the 14th century, for example, the library of
Pictographs as a method of communication developed the Italian poet Petrarch contained more than 100 manu-
into phonetic writing in about 1000 B.C. when people scripts that he himself had copied individually.
began to use symbols to represent sounds. Instead of In Petrarch's day, literate people were either monks or
drawing a picture of a dog to convey the idea of a dog, members of the privileged classes. Wealthy people could
scholars represented the sounds d-o-g with phonetic writ- afford tutoring, and they also could afford to buy the hand-
ing. The invention of phonetic writing has been called the written manuscripts copied by the monks. Knowledge-and
first information communications revolution. "After being the power it brings-belonged to an elite group of people.
stored in written form, information could now reach a new
Printing: The Second Information
kind of audience, remote from the source and uncontrolled
Communications Revolution
by it," writes media scholar Anthony Smith. "Writing
transformed knowledge into information." As societies grew more literate, the demand for manu-
About 500 years later, the Greek philosopher Socrates scripts flourished, but a scribe could produce only one
anticipated the changes that widespread literacy would copy at a time. What has been called the second infor-
bring. He argued that knowledge should remain among mation communications revolution began in Germany
the privileged classes. Writing threatened the exclusive in 1455, when Johannes Gutenberg printed a Bible on a
use of information, he said. "Once a thing is put in writ- press that used movable type.
ing, the composition, whatever it may be, drifts all over the More than 200 years before Gutenberg, the Chinese
place, getting into the hands not only of those who under- had invented a printing press that used wood type, and
stand it, but equally of those who have no business with it." the Chinese also are credited with perfecting a copper
In about 200 B.C., the Greeks perfected parchment, press in 1445. But Gutenberg's innovation was to line up
made from goat and sheep skins. Parchment was an even individual metal letters that he could ink and then press
better medium on which to write. By about AD. 100, onto paper to produce copies. Unlike the wood or copper
before the use of parchment spread throughout Europe, presses, the metal letters could be reused to produce new
the Chinese had invented paper, which was much cheaper pages of text, which made the process much cheaper.
to produce than parchment. Europeans didn't start to use The Gutenberg Bible, a duplicate of the Latin original, is
paper until more than a thousand years later, in about considered the first book printed by movable type (47 cop-
AD. 1300. The discovery of parchment and then paper ies survive today, 559 years later). As other countries
meant that storing information became cheaper and easier.
As Socrates predicted, when more people learned to
write, wider communication became possible because Pictograph A symbol of an object that is used to
people in many different societies could share informa- convey an idea .
tion among themselves and with people in other parts of Phonetic Writing The use of symbols to
the world. But scholars still had to painstakingly copy the represent sounds .
information they wanted to keep or pay a scribe to copy
. C?pyrig~t 2017 Cengage Learning. All Rights Reserved. May not b_e copied, scanned, or dupli~ated, in whole or in part. Due to electronic rights, some third party content may be suppresstxl from the eBook and/or eChapter(s).
Ed1tonal review has deemed that any suppressed content does not matenally affect the overall learmng experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
Another random document with
no related content on Scribd:
one among the mutilated statues, the other in the ruins of a
neighbouring building. The material is similar, a very hard and dark
igneous rock. The execution corresponds exactly with that of the
torsos, to one of which the first named head may perhaps have
belonged.
M. de Sarzec tells us that these statues were found in the great
edifice at Tello, almost all on the soil of the central court.[208] Some
are standing, others seated;[209] we give an example of each type
(Plate VI., Figs. 96 and 98). In these effigies we may notice an
arrangement that we have more than once encountered in Assyrian
reliefs, but which has never, so far as we know, been employed in
the arts of any other people. “All these statues, without exception,
have their hands folded within each other and placed against their
chests, an attitude still used in the East to mark the respectful
attention of the servant awaiting his master’s orders. If, as we have
every reason to believe, these figures were placed in a sacred
inclosure, in front of the images of the gods or of the symbols that
recalled their power, this attitude of submission and respect became
one of religious veneration (Fig. 97).”[210]
At Nimroud and Khorsabad this expressive gesture is sometimes
given to eunuchs in the presence of their masters, sometimes to
kings when standing before the effigies of their gods. It is thoroughly
well-fitted for those votive statues that proclaim themselves in their
inscriptions to be offerings to the deity. In consecrating an image of
himself on the threshold of the sanctuary, the king assured the
perpetuity of his prayers and acts of homage; he remained for ever
in an attitude of worship before his god—in an attitude whose calm
gravity was well calculated to suggest the idea of a divine repose to
which death was the passport.
Fig. 96.—Statue; from Tello. Height 37 inches.
Louvre. Drawn by Bourgoin.
The chief point of interest for us lies in the execution of these
statues. They embody a very sensible progress. Art has thrown off
the hesitations of its first youth and attacks the stubborn material
with much certainty and no little science; and yet the most striking
quality is less the successful grappling with a mechanical difficulty,
than the feeling for nature and the general striving for truth; a striving
which has not been discouraged by the resistance of the material.
This resistance has resulted in a method that makes use of wide,
smooth surfaces; and yet the workmanship has a freedom that a too
great fondness for superficial polish too often took away from the
diorite monuments of Egypt. The bare right arm and shoulder are
remarkable passages. The strongly-marked muscles of the back and
the freedom with which the bony framework is shown under the flesh
and skin should also be noticed. All these parts are treated with a
breadth that gives a fine look of power to the otherwise short and
thickset figure. And yet the vigour of the handling never goes beyond
what is sober and discreet (Fig. 98). The same character is to be
found in the hands, where joints, bones, and nails are studied with
minute care, and in the feet, where power of foothold and the shapes
of the toes are thoroughly well indicated.
Fig. 97.—The hands of a statue; from Tello. Louvre.

Drawn by Bourgoin.
The treatment of the two heads is no less excellent (Plate VII).
The eyes are straight and widely opened; the heavy brows join in the
middle; the strong and salient chin, as well as the crown of the head,
is shaved in the fragment in which it is left bare.[211] Under the kind
of hat or turban in the other there would be a head no less bald. In
our own day the small cap of cotton or linen covered by the twisted
scarf or shawl of the Turk or Hindoo, conceals little but the smooth
skin of the skull.[212] The custom had yet to be introduced of wearing
the long and closely-curled hair and beard that we find reproduced in
the sculptures of Nineveh. The nose is broken in both heads, but if
we may judge from the statuettes and bas-reliefs of the same epoch,
especially from a curious fragment recovered in the course of the
same excavations, it must have been arched—but not so much as
the Assyrian noses—and a little thick at the end. Taking the face as a
whole it is square in structure, like the body; in the few examples of
Assyrian heads in the round that we possess the oval of the face
seems longer, but the beard by which the whole of its lower part is
concealed renders any comparison difficult. We do not think,
however, that there is any necessity to raise a question of race. “It is
only subject to the greatest reserve that we can venture to say
anything as to the ethnography of the types created by sculpture,
especially when those types are archaic, and therefore exposed
more than all others to the influence of school conventions.[213] It is
a common habit with antique sculptors to allow traces of their work in
its rough shape to subsist in the finished creation. In all countries the
march of art has been from square and angular to round and flowing
shapes, from short and thickset to graceful and slender
proportions.”[214]
The tendencies shown in the rendering of the face and the
uncovered parts of the body are also to be recognized in the
treatment of the drapery. “The sculptor has attempted with much
truth and simplicity to suggest the relief of the drapery and the
direction of its folds. This early and timid attempt at studying folds is
all the more remarkable as nothing like it is to be found either in
Egyptian sculpture or in the later works of Assyria. It bears witness to
a sculpturesque instinct that does not reappear until we arrive at the
art of the Greeks and the magnificent development of draperies and
their significance which we then encounter.”[215]
Fig. 98.—The large statue from Tello.
Height 5 feet 3 inches. Louvre. Drawn
by Saint-Elme Gautier.
Fig. 99.—Female statuette.
Alabaster. Height about 8 inches.
The figures we have been describing seem to us to represent
The Archaic age of Chaldæan art. The characteristics to which
the name of archaism has been given are easier to feel than to
define. The proportions, especially in the seated figures, are here
very short and broad, so much so that they seem to want length
even when compared to the thickset forms in the Nimroud bas-
reliefs. There is some evidence that the neck was very short and
thick and the head large for the body, as we see it indeed in the
statuette of a woman sitting, in which our lamented colleague de
Longpérier was the first to recognize the work of some ancient
Chaldæan artist (Fig. 99).[216] In the figures from Tello the elbow and
the lower edge of the robe make those sharp angles which Assyrian
sculptors set themselves to round off in later days. There is no
attempt at grace; directness and truth of expression are all that the
artist has cared about.
Fig. 100.—Statuette; from Tello. Actual
size. Louvre. Drawn by Bourgoin.
We should ascribe several other objects found at Tello to the
same period. These are in the first place the votive bronzes inscribed
with the name of Gudea, which M. de Sarzec drew from their hiding
places (Vol. I., Figs. 146–148); secondly, a statuette carved from a
rather soft, fine-grained stone (Fig. 100). By its attitude it reminds us
of the statues of Gudea, while the treatment of its drapery is more
like the alabaster figure that we have chosen for reproduction from
the old Louvre collections. Those symmetrical folds that appear to
have been obtained with an iron, and that we have already seen
imitated on the oldest Chaldæan cylinders (Vol. I., Figs. 3, 17, and
20; and above, Figs. 39 and 40), may be observed in its draperies.
Thirdly, a bas-relief in soft stone, of which two compartments still
remain, would date from the same period (Fig. 101). In its original
condition it may have comprised some further divisions, for the
subject as we see it in the fragment preserved is by no means clear.
In the upper compartment there are four figures diminishing in size
from left to right. The male figure on the left bears what seems to be
an instrument of music, a kind of cymbal upon which he would beat
with the hammer-shaped object in his right hand. The three
individuals behind him are all in attitudes of submission and respect.
In the lower division a seated individual twangs the cords of a harp.
In front his instrument is decorated with the image of a bull, recalling
the richly ornamented harps that we find so often figured in the
Egyptian tombs.[217] Another figure, again in the attitude of respect,
stands before the harpist. It seems to be that of a woman, but the
relief is in such a condition that nothing but the general contours can
be made out.
Fig. 101.—Fragment of a relief; from Tello. Height

44 inches. Louvre.
Chaldæan art did not stop here. Once arrived at the degree of
mastery shown by the statues of Gudea, it made progress of which,
indeed, we are unable to measure the rapidity; but whose results are
now before our eyes. We can hardly doubt that it reached a pitch of
executive skill which often gave quite remarkable delicacy and
finesse to the most insignificant details of sculpture and ornament.
This had already suggested itself to M. Heuzey in the course of his
study of the small Chaldæo-Babylonian figures belonging to the
collection of terra-cottas in the Louvre;[218] he found the same merits
in several of the fragments collected by M. de Sarzec.[219] We have
been unable to reproduce all the pieces to which he alludes; some
are too small to be rendered in a fashion that would do justice to the
excellence of their treatment;[220] but that we may give some idea of
the third group we are thus led to form, we shall figure two or three
small objects, which the visitor will find without difficulty in the cases
of the Louvre. One of these is a fragment from a bas-relief on which
nothing remains but a foot, charmingly modelled, and a piece of
ornament representing a vase from which two streams of water,
each supporting a fish, are flowing (Fig. 102). The hardly sensible
relief and the extreme finesse of this motive, remind us of the
marvels of Japanese workmanship.[221] Still more striking is a small,
a very small, head in steatite, reproducing the same type as the
large statues with a grace and precision that make it a veritable gem
(Fig. 103). The eyes have the oblique inclination that was afterwards
to become so conspicuous in the Assyrian reliefs, but in a very slight
degree. We may apply almost the same remarks to another but less
well preserved head in diorite. Unlike all those we have as yet
encountered, it is not shaven. In spite of the stubborn material the
twists and turns of the hair and beard are sculptured in relief with
admirable skill and precision.
It was during this period that the custom was introduced of
allowing the hair and beard to grow, so that their crisp curls should
form a close frame for the face. This fashion was in the ascendant
when a bas-relief, of which, to our great regret, we only possess a
small fragment greatly damaged by fire (Fig. 67), was chiselled. It is
remarkable both for the fineness of its workmanship and its curious
subject. It shows the upper parts of two figures, entwined. That on
the right, from the long hair flowing over the shoulders, must be a
woman. The tall horned caps worn by both figures proclaim them to
be a royal or divine couple.
Fig. 102.—Fragment of a relief;

from Tello. Actual size. Louvre.
Fig. 103.—Head; from Tello.

Actual size. Louvre.
We find the same characteristics in a fifth monument from the
same place, whose composition at least is not wanting in originality.
This is a support of some kind, perhaps the foot of a vase, cut in rock
so hard, dark, and metal-like in its reflections, that at the first glance
it might almost be taken for bronze. Its general form is circular.
Above a plinth decorated with roughly chiselled squares and around
a central cylinder, sit a number of individuals with long beards and
hair. Their hands are placed upon their knees; the attitudes of the
limbs and the modelling of the feet remind us of the statues of
Gudea; but these figures are nude and their arrangement has more
ease and variety. The general motive is especially interesting; it is
both singular and happy, and proves that art was sufficiently
advanced to understand how to decorate common objects by the
addition of figures skilfully grouped and placed in natural and
picturesque attitudes (Fig. 104).
It can never be sufficiently deplored that none of these
monuments are either of a fair size or in a good state of
preservation. We can only judge of the school by the small
fragments we have been describing. What name are we to give to
the art of which we thus catch a glimpse? Is it not better to employ
some expression that has been sanctified by custom, and one to
which the critic and historian instinctively turns? When he seeks for a
special term to denote the different phases of an organic
development, what does he call the phase in which execution is at
once free and informed with knowledge, when the hand of the artist,
having won complete mastery over itself and over the material on
which it is employed, allows him to reproduce those aspects of
nature by which he has been charmed and interested? He calls it the
classic period, or the period in which works fit to be placed, as
models, before the artists of future ages, were produced. If we adopt
this nomenclature, the third of the periods we have just been
discussing will be for us the Classic age of Chaldæa.
Fig. 104.—Stone pedestal; from Tello. Greatest diameter 6 inches. Louvre.
Although the remains from Sirtella give an opportunity for the
study of Chaldæan art that is to be equalled nowhere else in Europe,
still the British Museum and the old collections of the Louvre contain
more than one object calculated to enrich, if not to complete, the
series we have established.
A bronze in the former gallery (Fig. 105) seems to date from the
earliest period of Chaldæan art. It has been thought to represent a
goddess, Istar perhaps, although there is nothing in the modelling of
the bosom to suggest the female sex. The whole work is, however,
so rough and barbarous that the author may very well have left out
all details of the kind through sheer inability to render them. Like the
bronzes of Tello, this figure—which is without legs—ends in a
cylindrical stem. It was in all probability meant to be placed in one of
those hiding places we have already described.
Fig. 105.—Chaldæan statuette.
Height 6½ inches. British
Museum. Drawn by Saint-Elme
Gautier.
Monuments from the Archaic age are less rare. We have already
had occasion to notice some of them, the tablet from Sippara with
the god Shamas (Vol. I. Fig. 71), for instance, the canephorus
inscribed with the name of the king Kourdourmapouk (Fig. 53), and
the stele of Merodach-Idin-Akhi (Fig. 63). The canephorus must have
been the oldest of these objects. Its head is entirely shaven and in its
attitude it resembles the bronzes of Gudea (Vol. I. Fig. 147). We are
induced to bring down the tablet nearer to our own day because the
individuals shown in it wear both beard and long hair. These are not
confined to the god himself and the two divine personages who
support the disk placed on the altar and representing the sun; they
are common to the three figures advancing in an attitude of worship.
The first appears to be a priest. Among other interesting details we
may point out, under the throne of Shamas, the two strong-limbed
deities whom Assyriologists call Izdubar and Hea-bani, and, in
Shamas’s right hand, the staff with a ring attached that is found
elsewhere than in Mesopotamia. The draperies of the god and those
of the third worshipper are arranged in the crimped folds of which we
have spoken above. Here art is fairly advanced. Putting on one side
the convention which allows the deity to be made much taller than
mortals, the proportions of the figures are good, their attitudes well
understood and expressive. The workmanship of the stele of
Merodach-Idin-Akhi is far inferior to that of the Sippara tablet. It
belongs to a series of monuments in which, as we shall explain
farther on, the workmanship is, as a rule, very mediocre. We shall
also mention a few fragmentary statues of very hard stone which
have been seen by travellers in Chaldæa,[222] and a few remains of
the same kind that are now in the British Museum; but of the first we
have only short and vague descriptions, while, among the second,
there is not a piece that can be compared to the statues of Gudea in
the Louvre. During all this period the volcanic rocks appear to have
been extensively employed; we still think they were obtained either
from the borders of the Arabian desert, or by way of the two rivers
from the mountains at the head of the double valley.
To the same school we may attribute a bronze from Hillah, now in
the Louvre (Fig. 106). It represents a priest robed in a long tunic with
five flounces of crimped work. His hair is brought together at the
back of his head, and he wears a low tiara with the usual horns
folded about it. His beard is short and broad. With his two hands—
which are broken—he holds a small ibex against his chest. We have
already encountered this motive in Assyria (see Vol. I. Fig. 114).
Fig. 106.—Statuette of a priest.
Height 5¼ inches. Louvre.
Fig. 107.—Statuette of a woman.
Terra-cotta. Louvre. Height 5¾
inches.
It is chiefly, however, among the terra-cotta statuettes that we find
good examples of that more elegant and refined form of art of which
we catch certain glimpses in some of the Tello fragments. The figure
of a priest happily draped in a mantle that covers his head and
shoulders from behind, has already been given (Fig. 50). We may
here add two more specimens of the same kind. Their merits,
however, can only be fairly appreciated in the originals, on account
of their small size. One of the very best things produced by
Chaldæan art is the statuette of a nude woman, standing and
suckling her infant (Fig. 107);[223] her large, and perhaps slightly
empty forms are modelled with ease and artistic feeling. She is, in all
probability, a goddess of maternity.[224] In the statuette reproduced in
our Fig. 108, the treatment is less free, its precision is a little dry and
hard. The personage represented employs the gesture proper to the
nursing goddesses (see Vol. I. Fig. 16), although robed from head to
foot. Her garment ends below in a deep fringe. On her head there is
a Persian tiara.[225]
Fig. 108.—Terra-cotta statuette.

Height 4¼ inches. Louvre.
This latter figure, in spite of certain qualities to which we are by
no means blind, belongs to a period of decadence which lasted,
perhaps, throughout the Persian domination, and even as late as the
Seleucidæ and Parthians. The types consecrated by religious
tradition were repeated, but repeated with a hesitating and indifferent
hand, and with little reference to nature. The faults inherent in this
kind of workmanship are still more conspicuous in the example,
given in Fig. 16 of the first volume, of a type which was very common
both in Chaldæa and Susiana.[226] Whether we call her Istar or
Anahit this goddess seems to have enjoyed a very lasting popularity
in the whole region of which Mesopotamia forms the centre. The art
of Chaldæa survived itself, so to speak, and reappeared after the fall
of the national independence, just as the art of Egypt had a renewal
of life under the Ptolemies and the Roman emperors. It is to these
centuries that we should ascribe a limestone head found by M. de
Sarzec at Tello (Fig. 109). In its execution there is none of the
firmness and feeling for nature that is so conspicuous in the
monuments from the three periods that we have endeavoured to
establish.
Fig. 109.—Head; from Tello.

Actual size. Louvre.
It is mainly to the second Chaldee empire that a whole series of
monuments belongs whose characteristics constitute them a class
apart;[227] we mean those tablets, generally of some very hard
stone, which are inscribed with what we should call title-deeds. Two-
thirds of their surface is occupied by several columns of close and
fine writing, in which the stipulations of the contract securing the
rights of the proprietor are recited. On the upper part, and dominated
by several stars and by a great serpent stretching across the upper
edge, some emblems are grouped, and these are almost exactly the
same in all known examples. There are altars upon which the wedge
or arrow-head, the primordial element of that writing without which
the preservation of the contract would have been impossible, is
either laid upon its side or set up on end. Other altars support horned
tiaras, a horse-shoe, and another object which has been made
unrecognizable by an unlucky fracture. With these things are
mingled several animals, real and fantastic, and many symbols, no
doubt of a sacred character, for we find them hung round the necks
of Assyrian kings or placed in front of them on the field of their
steles.
On one of these monuments, the one we have chosen as the
type of the whole series, a double river seems to flow round the
stone, and to embrace in its windings the mystic scene we have
described. This is the Caillou Michaux, now in the French National
Library. In Fig. 110 we give a reproduction of it as a whole, and in
Figs. 111 and 112 the upper parts of its two faces on a larger scale.
[228] The particular value of each symbol here engraved, is still, and
perhaps will always remain, an enigma, but the general significance
of their introduction into these documents is easily understood. They
give a religious character, a sort of divine sanction, to the titles
inscribed upon the stone; they act as witnesses and guarantees. The
landmark thus prepared, was set, no doubt, like the Athenian ὅροι, at
the limits of the field whose ownership it declared. It became a kind
of talisman.[229]
The workmanship of the upper division is very dry and hard; it is
not art. These images were not intended to charm the eye; they were
only placed on the stone on account of their supposed power of
interesting the gods in the preservation of the rights and titles
thereon set out. Their execution was therefore left to mere workmen,
who sculptured the symbols and animal forms in the most
mechanical and perfunctory fashion. They never dreamt of referring
to nature and so giving some variety to the traditional forms. This art,
if we may call it so, was hieratic in the fullest sense of the term.
Fig. 110.—The Caillou Michaux. Height
19¾ inches. Drawn by Saint-Elme Gautier.
From our point of view, then, we should gain nothing by
multiplying the number of these monuments. They are chiefly
interesting to the historian of law and religious beliefs in Chaldæa.
The remains for whose recovery we look with the most anxious hope
are those of what we have called the classic age of Chaldæan art,
an art that must have reached its apogee in the days of
Nabopolassar and Nebuchadnezzar. Speaking broadly, we can show

Download ebook Media Impact An Introduction To Mass Media Pdf full chapter pdf

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Download ebook Media Impact An Introduction To Mass Media Pdf full chapter pdf

Uploaded by

Copyright:

Available Formats

Media/Impact, An Introduction To Mass

Media - eBook PDF

But the right way to go about it isn't always so obvious. Go digital to

Engage witn Y,our. cour.se contenf'A enj~y tt.ie flexioilit~ ofi

Public Relations and Advertising Research and Theory

Media/Impact: An Introduction to Mass Media, © 2017, 2015, 2013 Cengage Learning

(engage Learning products are represented in Canada by Nelson Education, Ltd.

To learn more about (engage Learning Solutions, visit www.cengage.com.

Printed in the United States of America

BRIEF CONTENTS Impact Boxes

PART ONE: THE MASS MEDIA INDUSTRIES

Chapter 1 Mass Media and Everyday Life

Chapter 2 Books: Rearranging the Page 25

Chapter 3 Newspapers: Mobilizing Delivery 43

Chapter 4 Magazines: Chasing the Audience 65

Chapter 5 Recordings: Streaming Sounds 85

Chapter 6 Radio: Riding New Waves 103

Chapter 7 Movies: Digitizing Dreams 125

Chapter 8 Television: Switching Channels 147

Chapter 9 Internet Media: Widening the Web 171

PART TWO: SELLING THE MESSAGE

Chapter 10 Advertising: Catching Consumers 199

Chapter 11 Public Relations: Promoting Ideas 219

PART THREE: CHANGING MESSAGES

Chapter 12 News and Information: Staying Connected 235

Chapter 13 Society and Political Issues: Shaping the Arguments 255

Chapter 14 Law and Regulation: Reforming the Rules 277

Chapter 15 Mass Media Ethics 311

Chapter 16 Global Media: Communicating Change 333

CONTENTS Impact Boxes

PART ONE: THE MASS MEDIA INDUSTRIES

Mass Media and Everyday Life

Mass Communication Becomes Wireless 4

How the Communication Process Works 5

What Are the Mass Media Industries? 7

Three Key Concepts to Remember 9

Mass Media Are Profit-Centered Businesses 9

Convergence Dominates the Media Business 11

Why Media Properties Converge 12

Advertisers and Consumers Pay the Bills 13

Technology Changes Mass Media Delivery and Consumption 13

Media Take Advantage of Digital Delivery 15

How Today's Communications Network Operates 16

Why You Should Understand Mass Media and Everyday Life 19

vi CO NTENTS Review, Analyze, Investigate 21

Books: Rearranging the Page

5~ Cheaper Books Create a Mass Market 29

Grove Press Tests Censorship 30

Investors Buy Up Publishing Companies 30

Book Publishing at Work 30

Books Begin with Authors and Agents 30

The Book Industry Has Three Major Markets 33

Audiobooks and E-books Multiply the Audience 34

0 Impact/Convergence The First Bookless Library: BiblioTech Offers Only

Corporations Demand Higher Profits 36

Small Presses Seek Specialized Audiences 37

New Technologies Affect Production and Delivery 37

Book Publishing Today Is a Competitive, Complex Business 38

Review, Analyze, Investigate 39

Technology Helps Newspapers Reach New Readers 48

Newspapers Seek Mass Audiences and Big Profits 50

Newspapers Dominate the Early 20th Century 51

Unionization Encourages Professionalism 53

Television Brings New Competition 53