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COMS 461B ( the film session), Exam 3 study guide

by: Kedisha Dallas

COMS 461B ( the film session), Exam 3 study guide COMS 461B

Marketplace > Northern Illinois University > Organizational Corporate communication > COMS 461B > COMS 461B the film session Exam 3 study guide
Kedisha Dallas
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This study guide is very usual to get a good grade on your exam. Let me know what you think.
Prof. Holt
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This 10 page Study Guide was uploaded by Kedisha Dallas on Tuesday October 4, 2016. The Study Guide belongs to COMS 461B at Northern Illinois University taught by Prof. Holt in Fall 2016. Since its upload, it has received 7 views. For similar materials see Film in Organizational Corporate communication at Northern Illinois University.

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Date Created: 10/04/16
For the questions that are false the correct answer is in the parenthesis indicated by the colors purple and red. The words that are in yellow for the questions that are true is just words that he left out and I added Reading 1 (Jenkins) Yes, in the wake of September 11, the Arab world had no exposure to Bert and Ernie. Yes, coming full circle, fans produced a number of new sites, linking various "Sesame Street" characters with terrorists. No, in the world of media convergence, not important story gets told. (Every) Yes, the circulation of media content depends heavily on consumers' active participation. No, the term "participatory culture" is very similar (contrast) to older notions of passive media spectatorship. Yes, the popping of the dot-com bubble threw cold water on talk of a digital revolution. No, political economists and business gurus make convergence sound difficult (easy). Yes, several mobile phone companies told the author they don't make single- function phones any more. Yes, at the panel on game consoles, the big tension was between Sony and Microsoft. 2 Yes, increasingly, movie moguls saw games as a means of expanding the storytelling experience. Yes, collaboration among those involved in media convergence has meant taking everyone out of their "comfort zones." Game designers have wanted to use games to explore ideas that couldn't fit within two-hour films. No, the attendees at the conference had figured out why people wanted convergence, but did not have the technology to do it. They had the technology to bring about convergence, but they hadn't figured out why anyone would want it. No, at the conference, the panel on "monetizing music" was one of the least well (the most heavily) attended. No, the conference was a closed-door event. (not) 3 No, the prophet of convergence was Marshall McLuhan (Ithiel de Sola Pool). No, according to Pool, the one-to-one relationship that used to exist between a medium and its use is expanding and strengthening (eroding). No, the author is disappointed with fandom and avoids its discussion. (12) Yes, Pool understood that divergence and convergence are two sides of the same phenomenon. Yes, Pool thought that freedom is fostered when the means of communication are dispersed, decentralized, and easily available. 4 Yes, once a medium establishes itself as satisfying some core human demand, it continues to function within the larger system of communication options. No, old media are being displaced. (not) Yes, media convergence is more than simply a technological shift. Yes, fueling technological convergence is a shift in patterns of media ownership. Yes, what dies are simply the tools we use to access media content. 5 No, convergence simply involves (doesn’t just involve) commercially produced materials and services traveling along well-regulated and predictable circuits. No, convergence is a top-down corporate-driven process, but not (and) a bottom-up consumer-driven process. No, as they undergo transition, media companies are (not) behaving in a monolithic fashion. Yes, mapping how knowledge communities work can help us better understand the social nature of contemporary media consumption. Yes, according to the logic of affective economics, the ideal consumer is active, emotionally engaged, and socially networked. Yes, transmedia storytelling is the art of world making. Yes, it is true that not all consumers have access to the skills and resources needed to be full participants in the cultural practices the author describes. No, very few (most) of the people depicted in the author's book are early adopters. No, convergence will be a fully integrated system. Convergence will be a kind of kludge—a jerry-rigged relationship among different media technologies Yes, there has been an alarming concentration of the ownership of mainstream commercial media. Reading 2 (Lee) 1 Yes, film production in the United States steadily expanded until at least the early 1990s, while indigenous production industries in Europe, Japan, and other countries declined. Yes, the apparent tendency for relatively large and wealthy countries to dominate world trade in electronic media products has been widely attributed to a home market effect. Yes, the period of the 1950s to the 1970s was one of relative prosperity and high theater box office market shares for domestic European and other film production industries outside the United States. No, Know whether or not, in Western European countries, domestically produced films as a whole were reported as 27% (60%) of the box office in 1968, but 60% (27%) in 2003. No, the authors set out to disprove the home market model. 2 Yes, the economic logic of some media-specific explanations for large country dominance is embedded in more general theories published in the international trade literature. Yes, according to Wildman and Siwek (and others), relatively large or wealthy countries naturally tend to have a large consumer (demand) base for movies. Yes, one assumption leading to a large country effect involves the high setup cost, low marginal distribution cost characteristics of media products, and the endogenous nature of those setup costs. No, Marvasti reported that county size had no (a) significant effect on exports of a broad range of cultural products. Yes, the cultural discount assumption seems to have widespread, although anecdotal, empirical support. No, the basic outlines of the home market theory are directly (opposed) to communications scholarship. Yes, unless internal or external economies of scale in movie production are extremely high, the transport cost-based home market advantage alone would not lead the United States or other major countries to be dominant producers and exporters of movies. Yes, one media-specific assumption leading to a home market effect is that there is a home bias in consumption. Yes, Weder offered a taxonomy of demand conditions including variations in income, tastes, and climate that can also generate home market effects. No, Like (unlike) most industrial products, movie trade involves a high level of (minimal) transport costs 3  No, the empirical analysis excluded Japan Yes, except for the countries that were studied, long-term time-series data were generally unavailable. No, authors define primary movie spending to consist of total consumer spending on only two (the tree main) media: pay TV and home video. (theaters) No, anecdotal evidence indicates that there is little or no (a substantial portion) broadcast television support from state subsidy for theatrical features in European countries. Yes, the six subject countries accounted for the bulk of the entire world market for movies. No, American movies tend to face higher (lower) cultural barriers than the films of the many smaller countries they trade with. Yes, the one-year lag in all of the models reflects an expected time delay from observed consumer spending to producer investments. Yes, Unable to assemble useful time series data that could realistically account for changes in English language proficiency or for other cultural factors in the six countries over a significant period of time. Yes, because of the extremes in size and perhaps cultural receptivity represented by the United States, the domestic market share models are estimated both with and without the U.S. domestic market share observations. No, Frank showed that the Wildman and Siwek model has (does not have) a general equilibrium solution. (p. 171-181) 4. Yes, overall, the statistical results of a variety of different specifications indicate consistent support for the existence of home market effects in international trade of theatrical feature films. Yes, confidence levels of the F statistics testing the joint significance of the country effects in all models that we estimated were in favor of a country-specific effect in the data. No, all parameter estimates for domestic market share models are statistically significant and in the hypothesized directions at the .05 level significance level, but not the .01 level. (either the 0.1 or 0.5) Yes, the significance of coefficients was generally weaker in models that excluded the United States. Yes, the models were estimated using five additional dummy variables, each representing a 10-year time period (13 years in the case of the last dummy). Yes, the authors' analysis implies that declining domestic film industries outside the United States since the 1970s may be explained by a relatively slow growth in consumer movie spending in these countries relative to that of the United States. No, the authors find no support for the home market model of media product trade. (Find support). Yes, domestic consumer spending on movies is not entirely exogenous to the home market model. Yes, the rise of movie spending in the United States probably reflects to some degree the increasing availability to Americans of domestically produced, high-budget films. Yes, empirical affirmation of the home market model in general offers implicit support for the theory that cultural discounts exist. However, do not explicitly test or measure for cultural discounts. (p. 181-186) Reading 3 (Raney) 1 No, the convergence of media entertainment and advertising is very new. ( not exactly new) Yes, the Web offers consumers the ability to interact with automotive products in various ways Yes, "content/commerce convergence" remains somewhat controversial, in that some practitioners have raised doubts about the effectiveness of such efforts. Yes the latest trend in distributing "movies" featuring products potentially transforms automotive Web sites into entertainment venues. (p. 039) 2. Yes, Jamie Kellner decried the spread of PVRs and openly expressed concern that adsupported TV networks may someday be faced with a crippled business model. Yes, the Persuasion Knowledge Model predicts that when a person begins conceiving of an agent's action as a persuasion tactic, a "change of meaning" will occur with respect to their interpretation of the ad. Yes, several researchers have identified interactivity as a key motivation (motive) for consumers' use of the Internet. No, Carroll identified arousal (suspense) as the "emotional response to narrative fiction." Yes, Web sites showcasing products in feature films contain elements more traditionally associated with media entertainment. No, filmmaking offers a new and inexpensive (expensive) approach to online marketing. Yes, recent entertainment research indicates that attempts to introduce interactive elements into traditional media entertainment may decrease enjoyment of those traditional media contents. Yes, several characteristics of drama promote affective dispositions toward dramatic characteristics and the resulting anticipatory emotions.(p. 040-044) 3. Yes, all four video ads were displayed unedited, directly from the automotive Web sites. Yes, it is true that, between three and seven days prior to the main testing session, all participants completed a pretest measure. Yes, research has repeatedly indicated that arousal impacts responses to media messages. No, participants were recruited from undergraduate business (communication) courses at a large university in the southeastern United States. Yes, as predicted, users should indicate greater intent to return to the site featuring the film than the other three sites. No, the participants reported significantly more (less) arousal following the video only ad than following either the video and audio or the interactive ad. Yes, The participants stated they were equally likely to purchase a BMW, Mercedes-Benz, and Saturn. Yes, entertainment level was a (very) strong predictor of attitude toward the site. (p. 044-050) 4. No, BMW's posttest score was significantly lower (higher) than Saturn's. Yes, the path analyses indicated that entertainment level was a strong, direct predictor of desire to return to the site. Yes, the least popular brand in the current study also had the least entertaining and interactive site. Yes, the arousal variable employed by this study is limited in terms of scope and because it was a self-reported variable. No, the brand associated with the film site did change rank with respect to the other brands from the pretest to the posttest. (not) Yes, the study's findings are in line with previous research suggesting positive effects associated with increased levels of entertainment and interactivity on promotional Web sites. No, entertainment level was a direct (indirect) predictor of purchase intent and attitude toward the brand. No, university students are least (most) likely to encounter the Web-based marketing efforts of automakers examined in this study. (p. 050-051) Reading 4 by Scolari No, TS is just an adaptation from one medium to another. (not) No, TS and similar concepts diverge sharply (come directly) from semiotic reflections on intertextuality. Yes, "The Matrix" is a good example of TS. No, TS seems to be one of the least (most) widespread strategies of media corporations. Yes, TS introduces deep transformations into textualities, production logics, and cultural consumption practices. Yes, Reality shows have experimented with TS. Yes, one "Shrek" level is for children, the other for adults. Yes, the 2001 UK edition of "Big Brother" was disseminated over nine different platforms. Yes, TS is a particular narrative structure that expands through different languages and media. No, TS is alone, that is, not related to other overlapping concepts in media studies. (p. 587-592) 2. Yes, "Steve Canyon"'s narrative world produced three implicit readers by manipulating the serial organization of the discourse and the narrative structure inside the same media. Yes, a dedicated "24" fan will move from one medium to another, applying a different set of skills to interpret each media text. Yes, the complexity of "24"'s fictional world is so high that it is not easy to consider a TV episode as a single text. No, the only medium not to be used by "24" was the graphic novel. Yes, for "24," the stories are characterized by a radial structure that facilitates the expansion of the fictional world. Yes, for "24," the succession of seasons and their respective prequels constitute the macrostory. No, contents for mobiles ("24") are situated very close (long way from) to the central axis. Yes, in many countries, Batman was introduced by the TV series in the 1960s, and for many young children, Harry Potter is a movie character. Yes, comic artists have any way of dealing with the fact that newspapers have different readers. No, Canif's narrative structure differed greatly from the one used by Grey in "Little Orphan Annie." Milton Caniff used a narrative structure in Steve Canyon that had already been applied by Harold Grey in Little Orphan Annie No, for "Steve Canyon," the Sunday color page (daily strip) developed the plot, while the daily strips (Sunday color page) described situations related to the plotlines. (p. 592-599) 3. Yes, brands appear as narrative or possible worlds since they constitute complex discourse universes with strong narrative imprint. Yes, in TS, the brand is expressed by the characters, topics, and aesthetic style of the fictional world. Yes, traditional branding is mainly constructed with iconic elements. No, the Volvo "Rush" transmedia campaign diverges sharply (reproduces) from the aesthetics of "24." Yes, economic subjects no longer try to sell a product or service by means of persuasive advertising. Yes, semioticians consider brands as narrative worlds that can be analyzed by applying the theoretical tools developed for fictional texts. Yes, there are different ways of situating a brand inside a fictional narrative. (p. 599- 600) 4. Yes, narratology can be very helpful for describing the internal dynamics of complex textual networks. Yes, analysis revealed four strategies for fictional world expansion: creation of interstitial microstories, parallel stories, peripheral stories, and user-generated content. No, the scientific objective of semiotics and narratology is different (coincides) from the economic interests of media producers. Yes, user-generated content occupies a central role in fictional world expansion strategies. Yes, research should expand the analysis of implicit consumers. Yes, Propp said that analyzing the structure of folktales will increase the possibilities of creating new stories. (p. 600-601)


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