Chapter 3: Print, Mass Media and Advertising

Learning Targets and Essential Questions

  1. I can define mass media and advertisement, and recognize the different forms they take.
    • What is the difference between mass communication and mass media?
    • What is the role of media in American culture today?
  2. I can analyze how print, mass media, and advertising have evolved  over time.
    • What are the four roles media performs in our society?
    • How have technological shifts affected the media over time?
  3. I can evaluate the key functions of mass media.
    • Are gatekeepers and tastemakers necessary for mass media? How is new media helping to reimagine these roles?
    • What ethical issues are created by gatekeeping function of the media?
  4. I can define advertising and identify the types of advertising used today.
    • What are the seven types of advertising mentioned in the book?
    • Which of these forms of advertising impact you the most and which of these forms of advertising impact you the least? Why? Be specific.
  5. I can analyze the overall effects of government regulation on advertising and the media.
    • How does government regulation affect advertising?
    • What influence does advertising have on American culture?
    • What are the major duties of the FCC?
    • What is deregulation and what is its effect on the media landscape?
  6. I can describe the impact of advertising on American cultural values.
    • What are the four stages of a typical public relations campaign?
    • What is branding and how is it important to public relations?
    • In what ways is public relations used in politics?
    • How do you think branding has affected American culture and political discourse?
  7. I can demonstrate how government uses regulation of mass media and advertising to influence American’s perspective on current issues.
    • What effects did the Fairness Doctrine and Privacy Act have on media outlets and audiences?
    • How has the growth of the internet changed citizens roles in the political process?

3.1 Mass Media and Advertisement

Key Terms

Mass communication media mass media
culture public forum “the medium is the message.”
cultural period Modern Age Mass communication
Modernism postmodern era grand narratives
product endorsements branding viral ads

We use all kinds of terms to talk about media. It will be useful to clarify them. It will be especially important to distinguish between mass communication and mass media, and to attempt a working definition of culture. Let’s start with mass communication first. Note that adjective: mass. Here is a horrible definition of mass from an online dictionary: of, relating to, characteristic of, directed at, or attended by a large number of people. But the definition gets the point across. Communication can take place just between two people, or among a few people, or maybe even within one person who is talking to himself. Mass communication is communication of, relating to, characteristic of, directed at, or attended by a large number of people. That’s pretty ugly. Let’s try the following: Mass communication refers to communication transmitted to large segments of the population.

How does that happen? The transmission of mass communication happens using one or more of many different kinds of media (people sometimes forget that media is the plural of the singular, medium). A medium is simply an instrument or means of transmission. It can be two tin cans connected by a string. It can be television. It can be the Internet. A mass medium is a means of transmission designed to reach a wide audience. It is not tin cans on a string, unless you have a lot of cans, but it can be television or the Internet. Media are more than one medium. So mass media refers to those means of transmission that are designed to reach a wide audience. Mass media are commonly considered to include radio, film, newspapers, magazines, books, and videogames, as well as Internet blogs, podcasts, and video sharing.

Lastly, let’s define culture a bit more. All this mass communication over mass media takes place among people in a particular time and place. Those people share ideas about reality, and the world and themselves. They act out those ideas daily in their lives, work, and creative expressions, and they do so in ways that are different from other people in other places and other times. We can use culture to refer to the acting out of these shared ideas.

One of the great scholars of culture, anthropologist Clifford Geertz, offered this definition. He said, culture is “an historically transmitted pattern of meanings embodied in symbols, a system of inherited conceptions expressed in symbolic forms by means of which men communicate, perpetuate, and develop their knowledge about and their attitudes toward life” (1973, 89). That’s difficult language, but you can get the idea—culture is historically transmitted knowledge and attitudes toward life expressed in symbolic form. Or perhaps more simply, culture is the expressed and shared values, attitudes, beliefs, and practices of a social group, organization, or institution. It is OK if that still seems broad and fluid. Scholars also wrestle with the term because it must capture so much more. Culture should not be easy to define.

What this book will do is bring together media and culture in the context of the American experience. Throughout American history, evolving media technologies have changed the way we relate socially, economically, and politically. Here’s one example from long ago that is still talked about today. In 1960, the first televised presidential debates changed American history forever. The young senator, John F. Kennedy, looked wonderful on television. He appeared energetic, crisp and at ease, while Vice President Richard Nixon looked nervous and uncomfortable. His makeup was caked on. He hunched and slouched. People who listened to the debate on the radio considered it a tie. But most people who watched the debate on television believed that Kennedy crushed Nixon. Kennedy upset Nixon and won the presidency. A few months later, the newly-elected president gave credit to technology for changing public perceptions and enabling his win. He claimed that “it was TV more than anything else that turned the tide.”[1] Ever since Kennedy, American presidential hopefuls have had to be increasingly television-ready and media savvy. Indeed, evolving technology has helped change what the American public wants out of its leaders.

In today’s wired world of smartphones and streaming satellite feeds, our expectations of our leaders, celebrities, teachers, and even ourselves are changing in drastic ways. This chapter aims to provide you with the context, tools, and theories to understand changes brought about by the commingling of media and culture. Rather than telling you what to think, this chapter hopes to provide you with a framework to consider some of the crucial issues affecting media and culture in today’s world. The following are some questions to consider now, and to keep in mind as you move forward in this chapter:

  • The second half of the 20th century and the beginning of the 21st century saw a huge growth of media forms, including radio, cinema, television, the Internet, and cell phone. Understanding the evolution of media technology can help you understanding not only the media of today, but also the media of tomorrow. What then are the roots of media in U.S. history? How did they help shape the way people interacted with, and understood, the world they lived in?
  • Contemporary Americans have more means of getting information and entertainment than ever before. What are the major media present in the United States today? How do these forms of media interact with one another? How do they overlap? How are they distinct?
  • What is the role of media in American culture today? Some people argue that dramatic and controversial events help fuel the demand for 24-hour news access. In June 2011, people around the world spent hours glued to coverage of the Casey Anthony trial. More recently, in November of 2011, sports coverage moved from football scores to the Penn State football sex-abuse scandal. What are some other ways that culture affects media?

Mass Media and Culture

“Well, how did I get here?” a baffled David Byrne sings in the Talking Heads song, “Once in a Lifetime.” The contemporary media landscape is so rich, deep, and multifaceted that it’s easy to imagine American media consumers asking themselves the same question. In 2010, Americans could turn on their television and find 24-hour news channels, as well as music videos, nature documentaries, and reality shows about everything from hoarders to fashion models. That’s not to mention movies available on-demand from cable providers, or television and video available online for streaming or downloading. Half of American households receive a daily newspaper, and the average person holds 1.9 magazine subscriptions.[2] A University of California San Diego study claimed that U.S. households consumed around 3.6 zettabytes of information in 2008, the digital equivalent of a 7-foot high stack of books covering the entire United States, including Alaska—a 350 percent increase since 1980.[3] Americans are exposed to media in taxicabs and buses, in classrooms and doctors’ offices, on highways and in airplanes.

A Brief History of Mass Media and Culture

Until Johannes Gutenberg’s 15th-century invention of the movable type printing press, books were painstakingly handwritten, and no two copies were exactly the same. The printing press made the mass production of print media possible. Not only was it much cheaper to produce written material, but new transportation technologies also made it easier for texts to reach a wide audience. It’s hard to overstate the importance of Gutenberg’s invention, which helped usher in massive cultural movements like the European Renaissance and the Protestant Reformation. In 1810, another German printer, Friedrich Koenig, pushed media production even further when he essentially hooked the steam engine up to a printing press, enabling the industrialization of printed media. In 1800, a hand-operated printing press could produce about 480 pages per hour; Koenig’s machine more than doubled this rate. (By the 1930s, many printing presses had an output of 3000 pages an hour.) This increased efficiency helped lead to the rise of the daily newspaper.

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Figure 3.0

As the first Europeans settled the land that would come to be called the United States of America, the newspaper was an essential medium. At first, newspapers helped the Europeans stay connected with events back home. But as the people developed their own way of life—their own culture—newspapers helped give expression to that culture. Political scientist Benedict Anderson has argued that newspapers also helped forge a sense of national identity by treating readers across the country as part of one unified group with common goals and values. Newspapers, he said, helped create an “imagined community.”

The United States continued to develop, and the newspaper was the perfect medium for the increasingly urbanized Americans of the 19th century, who could no longer get their local news merely through gossip and word of mouth. These Americans were living in an unfamiliar world, and newspapers and other publications helped them negotiate the rapidly changing world. The Industrial Revolution meant that people had more leisure time and more money, and media helped them figure out how to spend both.

In the 1830s, the major daily newspapers faced a new threat with the rise of the penny press—newspapers that were low-priced broadsheets. These papers served as a cheaper, more sensational daily news source and privileged news of murder and adventure over the dry political news of the day. While earlier newspapers catered to a wealthier, more educated audience, the penny press attempted to reach a wide swath of readers through cheap prices and entertaining (often scandalous) stories. The penny press can be seen as the forerunner to today’s gossip-hungry tabloids.

In the early decades of the 20th century, the first major non-print forms of mass media—film and radio—exploded in popularity. Radios, which were less expensive than telephones and widely available by the 1920s, especially, had the unprecedented ability of allowing huge numbers of people to listen to the same event at the same time. In 1924, President Calvin Coolidge’s pre election speech reached more than 20 million people. Radio was a boon for advertisers, who now had access to a large and captive audience. An early advertising consultant claimed that the early days of radio were “a glorious opportunity for the advertising man to spread his sales propaganda” thanks to “a countless audience, sympathetic, pleasure seeking, enthusiastic, curious, interested, approachable in the privacy of their homes.”[4]

The reach of radio also further helped forge an American culture. The medium was able to downplay regional differences and encourage a unified sense of the American lifestyle—a lifestyle that was increasingly driven and defined by consumer purchases. “Americans in the 1920s were the first to wear ready-made, exact-size clothing…to play electric phonographs, to use electric vacuum cleaners, to listen to commercial radio broadcasts, and to drink fresh orange juice year round.” [5] This boom in consumerism put its stamp on the 1920s, and, ironically, helped contribute to the Great Depression of the 1930s.[6]

The post-World War II era in the United States was marked by prosperity, and by the introduction of a seductive new form of mass communication: television . In 1946, there were about 17,000 televisions in the entire United States. Within seven years, two-thirds of American households owned at least one set. As the United States’ gross national product (GNP) doubled in the 1950s, and again in the 1960s, the American home became firmly ensconced as a consumer unit. Along with a television, the typical U.S. family owned a car and a house in the suburbs, all of which contributed to the nation’s thriving consumer-based economy.

220px-RCA_630-TS_Television
Figure 3.1

Broadcast television was the dominant form of mass media. There were just three major networks, and they controlled over 90 percent of the news programs, live events, and sitcoms viewed by Americans. On some nights, close to half the nation watched the same show! Some social critics argued that television was fostering a homogenous, conformist culture by reinforcing ideas about what “normal” American life looked like. But television also contributed to the counterculture of the 1960s. The Vietnam War was the nation’s first televised military conflict, and nightly images of war footage and war protesters helped intensify the nation’s internal conflicts.

Broadcast technology, including radio and television, had such a hold of the American imagination that newspapers and other print media found themselves having to adapt to the new media landscape. Print media was more durable and easily archived, and allowed users more flexibility in terms of time—once a person had purchased a magazine, he could read it whenever and wherever he’d like. Broadcast media, in contrast, usually aired programs on a fixed schedule, which allowed it to both provide a sense of immediacy but also impermanence—until the advent of digital video recorders in the 21st century, it was impossible to pause and rewind a television broadcast.

The media world faced drastic changes once again in the 1980s and 1990s, with the spread of cable television. During the early decades of television, viewers had a limited number of channels from which to choose. In 1975, the three major networks accounted for 93 percent of all television viewing. By 2004, however, this share had dropped to 28.4 percent of total viewing, thanks to the spread of cable television. Cable providers allowed viewers a wide menu of choices, including channels specifically tailored to people who wanted to watch only golf, weather, classic films, sermons, or videos of sharks. Still, until the mid-1990s, television was dominated by the three large networks. The Telecommunications Act of 1996, an attempt to foster competition by deregulating the industry, actually resulted in many mergers and buyouts of small companies by large companies. The broadcast spectrum in many places was in the hands of a few large corporations. In 2003, the Federal Communications Commission (FCC) loosened regulation even further, allowing a single company to own 45 percent of a single market (up from 25 percent in 1982).

Why Media? What Does Media Do for Us?

Even a brief history of media can leave one breathless. The speed, reach, and power of the technology are humbling. The evolution can seem almost natural and inevitable, but it is important to stop and ask a basic question: why? Why do media seem to play such an important role in our lives and our culture? With reflection, we can see that media fulfill several basic roles.

One obvious role is entertainment. Media can act as a springboard for our imaginations, a source of fantasy, and an outlet for escapism. In the 19th century, Victorian readers, disillusioned by the grimness of the Industrial Revolution, found themselves drawn into books that offered fantastic worlds of fairies and other unreal beings. In the first decade of the 21st century, American television viewers could relax at the end of a day by watching singers, both wonderful and terrible, compete to be idols or watch two football teams do battle. Media entertain and distract us in the midst of busy and hard lives.

film-1081666_640
Figure 3.2

Media can also provide information and education. Information can come in many forms, and often blurs the line with entertainment. Today, newspapers, and news-oriented television and radio programs, make available stories from across the globe, allowing readers or viewers in London to have access to voices and videos from Baghdad, Tokyo, or Buenos Aires. Books and magazines provide a more in-depth look at a wide range of subjects. Online encyclopedias have articles on topics from presidential nicknames to child prodigies to tongue-twisters in various languages. The Massachusetts Institute of Technology (MIT) has posted free lecture notes, exams, and audio and video recordings of classes on its OpenCourseWare website, allowing anyone with an Internet connection access to world-class professors.

Another useful aspect of media is its ability to act as a public forum for the discussion of important issues . In newspapers or other periodicals, letters to the editor allow readers to respond to journalists, or voice their opinions on the issues of the day. These letters have been an important part of U.S. newspapers even when the nation was a British colony, and they have served as a means of public discourse ever since. Blogs, discussion boards, and online comments are modern forums. Indeed, the Internet can be seen as a fundamentally democratic medium that allows people who can get online the ability to put their voices out there—though whether anyone will hear is another question.

exchange-of-ideas-222788_640
Figure 3.3

Media can also serve to monitor government, business, and other institutions. Upton Sinclair’s 1906 novel The Jungle exposed the miserable conditions in the turn-of-the-century meatpacking industry. In the early 1970s, Washington Post reporters Bob Woodward and Carl Bernstein uncovered evidence of the Watergate break-in and subsequent cover-up, which eventually led to the resignation of then-president Richard Nixon. Online journalists today try to uphold the “watchdog” role of the media.

Thinking more deeply, we can recognize that certain media are better at certain roles. Media have characteristics that influence how we use them. While some forms of mass media are better suited to entertainment, others make more sense as a venue for spreading information. For example, in terms of print media, books are durable and able to contain lots of information, but are relatively slow and expensive to produce. In contrast, newspapers are comparatively cheaper and quicker to create, making them a better medium for the quick turnover of daily news. Television provides vastly more visual information than radio, and is more dynamic than a static printed page; it can also be used to broadcast live events to a nationwide audience, as in the annual State of the Union addresses given by the U.S. president. However, it is also a one-way medium—that is, it allows for very little direct person-to-person communication. In contrast, the Internet encourages public discussion of issues and allows nearly everyone who wants a voice to have one. However, the Internet is also largely unmoderated and uncurated. Users may have to wade through thousands of inane comments or misinformed amateur opinions in order to find quality information.

As mentioned at the start of this chapter, the 1960s media theorist Marshall McLuhan took these ideas one step further, with the phrase “the medium is the message.” McLuhan emphasized that each medium delivers information in a different way and that content is fundamentally shaped by that medium. For example, although television news has the advantage of offering video and live coverage, making a story come vividly alive, it is also a faster-paced medium. That means stories get reported in different ways than print. A story told on television will often be more visual, have less information, and be able to offer less history and context than the same story covered in a monthly magazine. This feature of media technology leads to interesting arguments. For example, some people claim that television presents “dumbed down” information. Others disagree. In an essay about television’s effects on contemporary fiction, writer David Foster Wallace scoffed at the “reactionaries who regard TV as some malignancy visited on an innocent populace, sapping IQs and compromising SAT scores while we all sit there on ever fatter bottoms with little mesmerized spirals revolving in our eyes…Treating television as evil is just as reductive and silly as treating it like a toaster with pictures.” David Foster Wallace, A Supposedly Fun Thing I’ll Never Do Again (New York: Little Brown, 1997).

We do not have to cast value judgments, but can affirm: people who get the majority of their news from a particular medium, will have a particular view of the world shaped not just by the content of what they watch, but also by its medium. Or, as computer scientist Alan Kay put it, “Each medium has a special way of representing ideas that emphasize particular ways of thinking and de-emphasize others.” Alan Kay, “The Infobahn is Not the Answer,” Wired, May 1994. The Internet has made this discussion even richer because it seems to hold all other media within it—print, radio, film, television and more. If indeed the medium is the message, the Internet provides us with an extremely interesting message to consider.

We have spoken easily of historical eras. Can we speak of cultural eras? It can actually be a useful concept. There are many ways to divide time into cultural eras. But for our purposes, a cultural period is a time marked by a particular way of understanding the world through culture and technology. Changes in cultural periods are marked by fundamental changes in the way we perceive and understand the world. For example, you may have had readings about the “Middle Ages,” a marker for European history from the 5th to 15th Century. In that era, technology and communication were in the hands of authorities like the king and church who could dictate what was “true.” The Renaissance, the era that followed the Middle Ages, turned to the scientific method as a means of reaching truth through reason. This change in cultural period was galvanized by the printing press. (In 2008, Wired magazine’s editor-in-chief proclaimed that the application of Internet technology through Google was about to render the scientific method obsolete.[7] In each of these cultural eras, the nature of truth had not changed. What had changed was the way that humans used available technology to make sense of the world.

Using technology to make sense of the world? You can anticipate that for the purpose of studying culture and mass media, the modern and postmodern ages are some of the most exciting and relevant ones to explore; eras in which culture and technology have intersected like never before.

The Modern Age—Modernity

The Modern Age is the post-Medieval era, beginning roughly after the 14th century, a wide span of time marked in part by technological innovations, urbanization, scientific discoveries, and globalization. The Modern Age is generally split into two parts: the early and the late modern periods. Scholars often talk of the Modern Age as modernity.

The early modern period began with Gutenberg’s invention of the movable type printing press in the late 15th century and ended in the late 18th century. Thanks to Gutenberg’s press, the European population of the early modern period saw rising literacy rates, which led to educational reform. As noted earlier, Gutenberg’s machine also greatly enabled the spread of knowledge, and in turn, spurred the Renaissance and the Protestant Reformation. During the early modern period, transportation improved, politics became more secularized, capitalism spread, nation-states grew more powerful, and information became more widely accessible. Enlightenment ideals of reason, rationalism, and faith in scientific inquiry slowly began to replace the previously dominant authority of king and church.

Huge political, social, and economic changes marked the end of the 18th century and the beginning of the late modern period. The Industrial Revolution, which began in England around 1750, combined with the American Revolution in 1776 and the French Revolution in 1789, indicated that the world was undergoing massive changes. The Industrial Revolution had far-reaching consequences. It did not merely change the way goods were produced—it also fundamentally changed the economic, social, and cultural framework of its time.

The Industrial Revolution doesn’t have clear start or end dates. However, during the 19th century, several crucial inventions—the internal combustion engine, steam-powered ships, and railways, among others—led to other innovations across various industries. Suddenly, steam power and machine tools meant that production increased dramatically. But some of the biggest changes coming out of the Industrial Revolution were social in character. An economy based on manufacturing, instead of agriculture, meant that more people moved to cities, where techniques of mass production led to an emphasis on efficiency, both in and out of the factory. Newly urbanized factory laborers no longer had the skill or time to produce their own food, clothing, or supplies, and instead turned to consumer goods. Increased production led to increases in wealth, though income inequalities between classes also started to grow as well. Increased wealth and non rural lifestyles led to the development of entertainment industries. Life changed rapidly.

It is no coincidence that the French and American Revolutions happened in the midst of the Industrial Revolution. The huge social changes created changes in political systems and thinking. In both France and America, the revolutions were inspired by a rejection of a monarchy in favor of national sovereignty and representative democracy. Both revolutions also heralded the rise of secular society, as opposed to church-based authority systems. Democracy was well-suited to the so-called Age of Reason, with its ideals of individual rights and its belief in progress.

Media were central to these revolutions. As we have seen, the fusing of steam power and the printing press enabled the explosive expansion of books and newspapers. Literacy rates rose, as did support for public participation in politics. More and more people lived in the city, had an education, got their news from the newspaper, spent their wages on consumer goods, and identified themselves as citizens of an industrialized nation. Urbanization, mass literacy, and new forms of mass media contributed to a sense of mass culture that united people across regional, social, and cultural boundaries.

A last note on the terminology for the cultural era of the Modern Age or modernity: a similar term—modernism—also has come into use. However, modernism is a term for an artistic, cultural movement, rather than era. Modernism refers to the artistic movement of late-19th and early-20th centuries that arose out of the widespread changes that swept the world during that period. Most notably, modernism questioned the limitations of “traditional” forms of art and culture. Modernist art was in part a reaction against the Enlightenment’s certainty of progress and rationality. It celebrated subjectivity through abstraction, experimentalism, surrealism, and sometimes, pessimism or even nihilism. Prominent examples of modernist works include James Joyce’s stream-of-consciousness novels, cubist paintings by Picasso, atonal compositions by Debussy, and absurdist plays by Pirandello. It’s not too confusing—modernism was an artistic movement taking place during the modern age.

The Postmodern Age

If you go on to graduate study in almost any field in the humanities or social sciences, you will eventually encounter texts debating the postmodern era. While the exact definition and dates of the postmodern era are still debated by cultural theorists and philosophers, the general consensus is that the postmodern era began during the second half of the 20th century, and was marked by skepticism, self-consciousness, celebration of difference, and the reappraisal of modern conventions. Modernity—the Modern Age—took for granted scientific rationalism, the autonomous self, and the inevitability of progress. The postmodern age questioned or dismissed many of these assumptions. If the modern age valued order, reason, stability, and absolute truth, the postmodern age reveled in contingency, fragmentation, and instability. The aftermath of World War II, the Holocaust, the Cold War, the digitization of culture, the rise of the Internet, and numerous other factors fed into the skepticism and self-consciousness of the postmodern era.

Modernity’s belief in objective truth is one of the major assumptions turned on its head in the postmodern era. Postmodernists instead took their cues from Schrödinger, the quantum physicist who famously devised a thought experiment in which a cat is placed inside a sealed box with a small amount of radiation that may or may not kill it. (Remember, this is a thought experiment, and is not real.) While the box remains sealed, Schrödinger proclaimed, the cat exists simultaneously in both states, dead and alive. Both potential states are equally true. Although the thought experiment was devised to explore issues in quantum physics, it appealed to postmodernists in its assertion of radical uncertainty. What is reality? Rather than being an absolute objective truth, accessible by rational procedures and experimentation, the status of reality was contingent, and depended on the observer.

“The postmodern” affected fields from philosophy to political science to literature. Novelists and poets, for example, embraced this new approach to reality. While Victorian novelists took pains to make their books seem more “real,” postmodern narratives distrusted professions of “reality” and constantly reminded readers of the artificial nature of the story they were reading. The emphasis was not on the all-knowing author, but instead on the reader. For the postmodernists, meaning was not injected into a work by its creator, but depended on the reader’s subjective experience of the work.

Another way postmodernity differed from modernity was in its rejection of what philosopher Jean-Francois Lyotard deemed “grand narratives.” The Modern Age was marked by different large-scale theories that attempted to explain the totality of human experience, including theories of capitalism, Marxism, rationalism, Freudianism, Darwinism, fascism, and so on. But the postmodern era called into question the sorts of theories that claimed to explain everything at once. Such thinking, postmodernists warned, led to 20th-century totalitarian regimes, such as Hitler’s Third Reich and the USSR under Stalin. The postmodern age, Lyotard theorized, was one of micro-narratives instead of grand narratives—that is, a multiplicity of small, localized understandings of the world, none of which can claim an ultimate or absolute truth. The diversity of human experience also was a marked feature of the postmodern world. As Lyotard noted, “eclecticism is the degree zero of contemporary general culture; one listens to reggae, watches a Western, eats McDonald’s food for lunch and local cuisine for dinner, wears Paris perfume in Tokyo and retro clothes in Hong Kong; knowledge is a matter for TV games.”[8]

Postmodernists even mistrusted the idea of originality—the supposed arrogance of thinking one had a “new thought”—and freely borrowed across cultures and genres. William S. Burroughs gleefully proclaimed a sort of call-to-arms for his postmodern generation of writers in 1985: “Out of the closets and into the museums, libraries, architectural monuments, concert halls, book stores, recording studios and film studios of the world. Everything belongs to the inspired and dedicated thief.…Words, colors, light, sounds, stone, wood, bronze belong to the living artist. They belong to anyone who can use them. Loot the Louvre! A bas l’originalité (down with originality), the sterile and assertive ego that imprisons us as it creates. Vive le sol (long live the sun)-pure, shameless, total. We are not responsible. Steal anything in sight.” Burroughs’s words embodied the mixed skepticism and glee that marked the postmodern era. As the new millennium began, Bob Dylan’s album, “Love and Theft,” carried on Burroughs’s tradition. Its title and many of its lyrics are taken from numerous sources across cultures, eras and fields.

History of Advertising

Advertising dates back to ancient Rome’s public markets and forums, and continues into the modern era in most homes around the world. Contemporary consumers relate to and identify with brands and products. Advertising has inspired an independent press and conspired to encourage carcinogenic addictions. An exceedingly human invention, advertising is an unavoidable aspect of the shared modern experience.

Selling the New World

European colonization of the Americas during the 1600s brought about one of the first large-scale advertising campaigns. When European trading companies realized that the Americas held economic potential as a source of natural resources such as timber, fur, and tobacco, they attempted to convince others to cross the Atlantic Ocean, and work to harvest this bounty. The advertisements for this venture described a paradise without beggars, and with plenty of land for those who made the trip. The advertisements convinced many poor Europeans to become indentured servants to pay for the voyage.[9]

Nineteenth-Century Roots of Modern Advertising

The rise of the penny press during the 1800s had a profound effect on advertising. The New York Sun embraced a novel advertising model in 1833 that allowed it to sell issues of the paper for a trifling amount of money, ensuring a higher circulation and a wider audience. This larger audience, in turn, justified greater prices for advertisements, allowing the paper to make a profit from its ads rather than from direct sales.[10]

The Rise of Brand Names

Another ubiquitous aspect of advertising developed around this time: brands. During most of the 19th century, consumers purchased goods in bulk, weighing out scoops of flour or sugar from large store barrels and paying for them by the pound. Innovations in industrial packaging allowed companies to mass produce bags, tins, and cartons with brand names on them. Although brands existed before this time, they were generally reserved for goods that were inherently recognizable, such as china or furniture. Advertising a particular kind of honey or flour made it possible for customers to ask for that product by name, giving it an edge over the unnamed competition.[11]

The rise of department stores during the late 1800s also gave brands a push. Nationwide outlets such as Sears, Roebuck & Company and Montgomery Ward sold many of the same items to consumers all over the country. A particular item spotted in a big-city storefront could come to a small-town shopper’s home thanks to mail-order catalogs. Customers made associations with the stores, trusting them to have a particular kind of item and to provide quality wares. Essentially, consumers came to trust the store’s name rather than its specific products.[12]

Advertising Gains Stature During the 20th Century

Although advertising was becoming increasingly accepted as an element of mass media, many still regarded it as an unseemly occupation. This attitude began to change during the early 20th century. As magazines—widely considered a highbrow medium—began using more advertising, the advertising profession began attracting more artists and writers. Writers used verse and artists produced illustrations to embellish advertisements. Not surprisingly, this era gave rise to commercial jingles and iconic brand characters such as the Jolly Green Giant and the Pillsbury Doughboy.

Jolly_green_giant
Figure 3.4

The household cleaner Sapolio produced advertisements that made the most of the artistic advertising trend. Sapolio’s ads featured various drawings of the residents of “Spotless Town” along with a rhymed verse celebrating the virtues of this fictional haven of cleanliness. The public anticipated each new ad in much the same way people today anticipate new television episodes. In fact, the ads became so popular that citizens passed “Spotless Town” resolutions to clean up their own jurisdictions. Advertising trends later moved away from flowery writing and artistry, but the lessons of those memorable campaigns continued to influence the advertising profession for years to come.[13]

Advertising Makes Itself Useful

World War I fueled an advertising and propaganda boom. Corporations that had switched to manufacturing wartime goods wanted to stay in the public eye by advertising their patriotism. Equally, the government needed to encourage public support for the war, employing such techniques as the famous Uncle Sam recruiting poster. President Woodrow Wilson established the advertiser-run Committee on Public Information to make movies and posters, write speeches, and generally sell the war to the public. Advertising helped popularize World War I on the homefront, and the war in turn gave advertising a much-needed boost in stature. The postwar return to regular manufacturing initiated the 1920s as an era of unprecedented advertising.[14]

-Official_United_States_War_Film._Produced_by_Signal_Corps,_U.S.A._and_Committee_on_Public_Information.-,_ca._1918_-_ca._-_NARA_-_512459
Figure 3.5

New Media

The rising film industry made celebrity testimonials, or product endorsements, an important aspect of advertising during the 1920s. Film stars including Clara Bow and Joan Crawford endorsed products such as Lux toilet soap. In these early days of mass-media consumer culture, film actors and actresses gave the public figures to emulate as they began participating in popular culture.[15]

Radio became an accepted commercial medium during the 1920s. Although many initially thought radio was too intrusive a medium to allow advertising, as it entered people’s homes; however, by the end of the decade, advertising had become an integral aspect of programming. Advertising agencies often created their own programs that networks, then, distributed. As advertisers conducted surveys and researched prime time slots, radio programming changed to appeal to their target demographics. The famous Lux Radio Theater, for example, was named for and sponsored by a brand of soap. Product placement was an important part of these early radio programs. Ads for Jell-O appeared during the course of the Jack Benny Show,[16] and Fibber McGee and Molly scripts often involved their sponsor’s floor wax.[17] The relationship between a sponsor and a show’s producers was not always harmonious; the producers of radio programs were constrained from broadcasting any content that might reflect badly on their sponsor.

Advertising Stumbles

During the late 1980s, studies showed that consumers were trending away from brands and brand loyalty. A recession coupled with general consumer fatigue led to an increase in generic brand purchases and a decrease in advertising. In 1983, marketing budgets allocated 70 percent of their expenditures to ads and the remaining 30 percent to other forms of promotion. By 1993, only 25 percent of marketing budgets were dedicated to ads.[18]

These developments resulted in the rise of big-box stores, such as Walmart, that focused on low prices rather than expensive name brands. Large brands remade themselves during this period to focus less on their products and more on the ideas behind the brand. Nike’s “Just Do It” campaign, endorsed by basketball star Michael Jordan, gave the company a new direction and a new means of promotion. Nike representatives have stated they have become more of a “marketing-oriented company” as opposed to a product manufacturer.[19]

As large brands became more popular, they also attracted the attention of reformers. Companies such as Starbucks and Nike bore the brunt of late 1990s sweatshop and labor protests. As these brands attempted to incorporate ideas outside of the scope of their products, they also came to represent larger global commerce forces. Margot Hornblower, “Wake Up and Smell the Protest,” Time, April 17, 2000. This type of branding increasingly incorporated public relations techniques that will be discussed later in this chapter.

The Rise of Digital Media

Twenty-first-century advertising has adapted to new forms of digital media. Internet outlets such as blogs, social media forums, and other online spaces have created new possibilities for advertisers, and shifts in broadcasting toward Internet formats have threatened older forms of advertising. Video games, smartphones, and other technologies also present new possibilities. Specific new media advertising techniques will be covered in the next section.

Types of Advertising

Despite the rise of digital media, many types of traditional advertising have proven their enduring effectiveness. Local advertisers and large corporations continue to rely on billboards and direct-mail fliers. In 2009, Google initiated a billboard campaign for its Google Apps products that targeted business commuters. The billboards featured a different message every day for an entire month, using simple computer text messages portraying a fictitious executive learning about the product. Although this campaign was integrated with social media sites, such as Twitter, its main thrust employed the basic billboard.[20]

Newspapers and Magazines

Although print ads have been around for centuries, Internet growth has hit newspaper advertising hard. A 45 percent drop in ad revenue between 2007 and 2010 signaled a catastrophic decline for the newspaper industry.[21] Traditionally, newspapers have made money through commercial and classified advertising. Commercial advertisers, however, have moved to electronic media forms, and classified ad websites, such as Craigslist, offer greater geographic coverage for free. The future of newspaper advertising—and of the newspaper industry as a whole—is up in the air.

Print magazines have suffered from many of the same difficulties as newspapers. Declining advertising revenue has contributed to the end of popular magazines, such as Gourmet, and to the introduction of new magazines that cross over into other media formats, such as Food Network Magazine. Until a new, effective model is developed, the future of magazine advertising will continue to be in doubt.

Radio

Compared to newspapers and magazines, radio’s advertising revenue has done well. Radio’s easy adaptation to new forms of communication has made it an easy sell to advertisers. Unlike newspapers, radio ads target specific consumers. Advertisers can also pay to have radio personalities read their ads live in the studio, adding a sense of personal endorsement to the business or product. Because newer forms of radio, such as satellite and Internet stations, have continued to use this model, the industry has not had as much trouble adapting as print media have.

Television

Television advertisement relies on verbal as well as visual cues to sell items. Promotional ad time is purchased by the advertiser, and a spot usually runs 15 to 30 seconds. Longer ads, known as infomercials, run like a television show, and usually aim for direct viewer response. New technologies, such as DVR, allow television watchers to skip through commercials; however, studies have shown that these technologies do not have a negative effect on advertising.[22] This is partly due to product placement. Product placement is an important aspect of television advertising, because it incorporates products into the plots of shows. Although product placement has been around since the 1890s, when the Lumière brothers first placed Lever soap in their movies, the big boom in product placement began with the reality television show Survivor in 2000.[23] Since then, product placement has been a staple of prime-time entertainment. Reality television shows, such as Project Runway and American Idol, are known for exhibiting products on screen, and talk-show host Oprah Winfrey made news in 2004 when she gave away new Pontiacs to her audience members.[24] Even children’s shows are known to hock products; a new cartoon series recently began on Nickelodeon featuring characters that represent different Sketchers sneakers.[25]

Digital Media

Emerging digital media platforms such as the Internet and mobile phones have created many new advertising possibilities. The Internet, like television and radio, offers free services in exchange for advertising exposure. However, unlike radio or television, the Internet is a highly personalized experience that shares private information.

Viral Ads

New advertising techniques have become popular on the Internet. Advertisers have tried to capitalize on the shared-media phenomenon by creating viral ads that achieve spontaneous success online. Fewer than one in six ads that are intended to go viral actually succeed, so marketers have developed strategies to encourage an advertisement’s viral potential. Successful spots focus on creativity rather than a hard-selling strategy and generally target a specific audience.[26] Recent Old Spice ads featured former NFL player Isaiah Mustafa in a set of continuous scenes, from a shower room to a yacht. The commercial ends with the actor on horseback, a theatrical trick that left viewers wondering how the stunt was pulled off. As of July 2010, the ad was the most popular video on YouTube with more than 94 million views, and Old Spice sales had risen 106 percent.[27]

Social Media

Social media sites such as Facebook use the information users provide on their profiles to generate targeted advertisements. For instance, if a person is a fan of Mariah Carey or joined a group associated with the singer, he or she might see announcements advertising her new CD or a local concert. While this may seem harmless, clicking on an ad sends user data to the advertising company, including name and user ID. Many people have raised privacy concerns over this practice, yet it remains in use. Free email services, such as Gmail, also depend on targeted advertising for their survival. Indeed, advertising is the only way such services could continue. Given the ongoing privacy debates concerning targeted Internet advertising, a balance between a user’s privacy and accessibility of services will have to be settled in the near future.

Mobile Phones

Mobile phones provide several different avenues for advertisers. The growing use of Internet radio through mobile-phone platforms has created a market for advertisements tapped by radio advertising networks, such as TargetSpot. By using the radio advertising model for mobile phones, users receive increased radio broadcast options, and advertisers reach new targeted markets.[28]

Another development in the mobile-phone market is the use of advertising in smartphone apps. Free versions of mobile-phone applications often include advertising to pay for the service. Popular apps, such as WeatherBug and Angry Birds, offer free versions with ads in the margins; however, users can avoid these ads by paying a few dollars to upgrade to “Pro” versions. Other apps, such as Foursquare, access a user’s geographic location and offer ads for businesses within walking distance.[29]

Links to Resources

3.2 Functions of Mass Media

Key Terms

Information function Interpretation function Instructive function
Bonding function Diversion function gatekeeping function
hypodermic needle approach Media effects reciprocal effect
boomerang effect Cultivation theory public relations
traditional publicity model public information model persuasive communication model
propaganda two-way symmetric model Popular culture
tastemakers

In the late 1970s and into the 1980s, a view of media effects as negotiated emerged, which accounts for the sometimes strong and sometimes weak influences of the media. This view sees the media as being most influential in constructing meanings through multiple platforms and representations. For example, the media constructs meanings for people regarding the role of technology in our lives by including certain kinds of technology in television show plots, publishing magazines like Wired, broadcasting news about Microsoft’s latest product, airing advertisements for digital cameras, producing science fiction movies, and so on. Although these messages are diverse and no one person is exposed to all the same messages, the messages are still constructed in some predictable and patterned ways that create a shared social reality. Whether or not the media intends to do this, or why? How does mass communication function differently than interpersonal communication? Do we have relationships with media like we have relationships with people? To answer these questions, we can look at some of the characteristics and functions of mass communication. One key characteristic of mass communication is its ability to overcome the physical limitations present in face-to-face communication. The human voice can only travel so far, and buildings and objects limit the amount of people we can communicate with at any time. While one person can engage in public speaking and reach one hundred thousand or so people in one of the world’s largest stadiums, it would be impossible for one person to reach millions without technology.

Another key characteristic of mass communication in relation to other forms of communication is its lack of sensory richness. In short, mass communication draws on fewer sensory channels than face-to-face communication. While smell, taste, and touch can add context to a conversation over a romantic dinner, our interaction with mass media messages rely almost exclusively on sight and sound. Because of this lack of immediacy, mass media messages are also typically more impersonal than face-to-face messages. Actually being in the audience while a musician is performing is different from watching or listening at home. Last, mass media messages involve less interactivity and more delayed feedback than other messages. The majority of messages sent through mass media channels are one way. We don’t have a way to influence an episode of The Walking Dead as we watch it. We could send messages to the show’s producers and hope our feedback is received, or we could yell at the television, but neither is likely to influence the people responsible for sending the message. Although there are some features of communication that are lost when it becomes electronically mediated, mass communication also serves many functions that we have come to depend on and expect.

Functions of Mass Media

The mass media serves several general and many specific functions. In general, the mass media serves information, interpretation, instructive, bonding, and diversion functions:

  • Information function. We have a need for information to satisfy curiosity, reduce uncertainty, and better understand how we fit into the world. The amount and availability of information is now overwhelming compared to forty years ago when a few television networks, local radio stations, and newspapers competed to keep us informed. The media saturation has led to increased competition to provide information, which creates the potential for news media outlets, for example, to report information prematurely, inaccurately, or partially.
  • Interpretation function. Media outlets interpret messages in more or less explicit and ethical ways. Newspaper editorials have long been explicit interpretations of current events, and now cable television and radio personalities offer social, cultural, and political commentary that is full of subjective interpretations. Although some of them operate in ethical gray areas because they use formats that make them seem like traditional news programs, most are open about their motives.
  • Instructive function. Some media outlets exist to cultivate knowledge by teaching, instead of just relaying information. Major news networks, like CNN and BBC, primarily serve the information function, while cable news networks, like Fox News and MSNBC, serve a mixture of informational and interpretation functions. The in-depth coverage on National Public Radio and the Public Broadcasting Service, and the more dramatized, but still educational content of the History Channel, the National Geographic Channel, and the Discovery Channel, serve more instructive functions.
  • Bonding function. Media outlets can bring people closer together, which serves the bonding function. For example, people who share common values and interests can gather on online forums, and masses of people can be brought together while watching coverage of a tragic event like 9/11 or a deadly tornado outbreak.
  • Diversion function. We all use the media to escape our day-to-day lives, to distract us from our upcoming exam, or to help us relax. When we are being distracted, amused, or relaxed, the media is performing the diversion function.

The Media as Gatekeeper

In addition to the functions discussed previously, media outlets also serve a gatekeeping function, which means they affect or control the information that is transmitted to their audiences. This function has been analyzed and discussed by mass communication scholars for decades. Overall, the mass media serves four gatekeeping functions: relaying, limiting, expanding, and reinterpreting.[30] In terms of relaying, mass media requires some third party to get a message from one human to the next. Whereas interpersonal communication only requires some channel or sensory route, mass media messages need to “hitch a ride” on an additional channel to be received. For example, a Sports Illustratedcover story that you read at SI.com went through several human “gates,” including a writer, editor, publisher, photographer, and webmaster, as well as one media “gate”—the Internet. We also require more than sensory ability to receive mass media messages. While hearing and/or sight are typically all that’s needed to understand what someone standing in front of you is saying, you’ll need a computer, smartphone, or tablet to pick up that SI.com cover story. In summary, relaying refers to the gatekeeping function of transmitting a message, which usually requires technology and equipment that the media outlet controls and has access to, but we do not. Although we relay messages in other forms of communication, such as interpersonal and small group, we are primarily receivers when it comes to mass communication, which makes us depend on the gatekeeper to relay the message.

In terms of the gatekeeping function of limiting, media outlets decide whether or not to pass something along to the media channel so it can be relayed. Because most commercial media space is so limited and expensive, almost every message we receive is edited, which is inherently limiting. A limited message doesn’t necessarily mean the message is bad or manipulated, as editing is a necessity. But a range of forces including time constraints, advertiser pressure, censorship, or personal bias, among others, can influence editing choices. Limiting based on bias or self-interest isn’t necessarily bad as long as those who relay the message don’t claim to be objective. In fact, many people choose to engage with media messages that have been limited to match their own personal views or preferences. This kind of limiting also allows us to have more control over the media messages we receive. For example, niche websites and cable channels allow us to narrow in on already-limited content, so we don’t have to sift through everything on our own.

Gatekeepers also function to expand messages. For example, a blogger may take a story from a more traditional news source and fact check it or do additional research, interview additional sources, and post it on his or her blog. In this case, expanding helps us get more information than we would otherwise, so we can be better informed. On the other hand, a gatekeeper who expands a message by falsifying evidence or making up details, either to appear more credible or to mislead others, is being unethical.

Last, gatekeepers function to reinterpret mass media messages: reinterpretation is useful when gatekeepers translate a message from something too complex, or foreign for us to understand, into something meaningful. In the lead-up to the Supreme Court’s June 2012 ruling on President Obama’s healthcare-overhaul bill, the media came under scrutiny for not doing a better job of informing the public about the core content and implications of the legislation that had been passed. Given that policy language is difficult for many to understand, and that legislation contains many details that may not be important to average people, a concise and lay reinterpretation of the content by the gatekeepers (the media outlets) would have helped the public better understand the bill. Of course, when media outlets reinterpret content to the point that it is untruthful or misleading, they are not ethically fulfilling the gatekeeping function of reinterpretation.

In each of these gatekeeping functions, the media can fulfill or fail to fulfill its role as the “fourth estate” of government—or government “watchdog.”

The Media as “Watchdog”

While countries like China, North Korea, Syria, and Burma have media systems that are nearly, if not totally controlled by the state regime, the media in the United States and many other countries is viewed as the “watchdog” for the government. This watchdog role is intended to keep governments from taking too much power from the people and overstepping their bounds. Central to this role is the notion that the press works independently of the government. The “freedom of the press” as guaranteed by our First-Amendment rights allows the media to act as the eyes and ears of the people. The media is supposed to report information to the public so they can make informed decisions. The media also engages in investigative reporting, which can uncover dangers or corruption that the media can then expose so that the public can demand change.

Of course, this ideal is not always met in practice. Some people have critiqued the media’s ability to fulfill this role, referring to it instead as a lapdog or attack dog. In terms of the lapdog role, the media can become too “cozy” with a politician or other public figure, which might lead it to uncritically report or passively relay information without questioning it. Recent stories about reporters being asked to clear quotes, and even whole stories, with officials before they can be used in a story drew sharp criticism from other journalists and the public, and some media outlets put an end to that practice. In terms of the attack-dog role, the twenty-four-hour news cycle, and constant reporting on public figures, has created the kind of atmosphere where reporters may be waiting to pounce on a mistake or error in order to get the scoop and be able to produce a tantalizing story. This has also been called being on “scandal patrol” or “gaffe patrol.” Media scholars have critiqued this practice, saying that too much adversarial or negative reporting leads the public to think poorly of public officials, and be more dissatisfied with government. Additionally, they claim that attack-dog reporting makes it more difficult for public officials to do their jobs.[31]

Theories of Mass Communication

Theories of mass communication have changed dramatically since the early 1900s, largely as a result of quickly changing technology and more sophisticated academic theories and research methods. A quick overview of the state of the media in the early 1900s and in the early 2000s provides some context on how views of the media changed. In the early 1900s, views of mass communication were formed based on people’s observation of the popularity of media and assumptions that something that grew that quickly and was adopted so readily must be good. Many people were optimistic about the mass media’s potential to be a business opportunity, an educator, a watchdog, and an entertainer. For example, businesses and advertisers saw media as a good way to make money, and the educator class saw the media as a way to inform citizens who could then be more active in a democratic society. As World War I and the Depression came around, many saw the media as a way to unite the country in times of hardship. Early scholarship on mass media focused on proving these views through observational and anecdotal evidence rather than scientific inquiry.

Fast forward one hundred years and newspapers are downsizing, consolidating to survive, or closing all together; radio is struggling to stay alive in the digital age; and magazine circulation is decreasing and becoming increasingly more focused on micro audiences. The information function of the news has been criticized and called “infotainment,” and rather than bringing people together, the media has been cited as causing polarization and a decline in civility.[32] The extremes at each end of the twentieth century clearly show that the optimistic view of the media changed dramatically. An overview of some of the key theories can help us better understand this change.

Hypodermic Needle and Beyond

In the 1920s, early theories of mass communication were objective, and social-scientific reactions to the largely anecdotal theories that emerged soon after mass media quickly expanded. These scholars believed that media messages had strong effects that were knowable and predictable. Because of this, they theorized that controlling the signs and symbols used in media messages could control how they were received, and conveyed a specific meaning.[33]

Extending Aristotle’s antiquated linear model of communication that included a speaker, message, and hearer, these early theories claimed that communication moved, or transmitted, an idea from the mind of the speaker through a message and channel to the mind of the listener. To test the theories, researchers wanted to find out how different messages influenced or changed the behavior of the receiver. This led to the development of numerous theories related to media effects. Media businesses were invested in this early strand of research because data proved that messages directly affected viewers, and this could be used to persuade businesses to send their messages through the media channel, in order to directly influence potential customers.

This early approach to studying media effects was called the hypodermic needle approach, or bullet theory, and suggested that a sender constructed a message with a particular meaning that was “injected” or “shot” into individuals within the mass audience. Using this theory, it was assumed that the effects were common to each individual, and that the meaning wasn’t altered as it was transferred. Through experiments and surveys, researchers hoped to map the patterns within the human brain so they could connect certain stimuli to certain behaviors. For example, researchers might try to prove that a message announcing that a product is on sale at a reduced price will lead people to buy a product they may not otherwise want or need. As more research was conducted, scholars began to find flaws within this thinking. New theories emerged that didn’t claim such a direct connection between the intent of a message and any single reaction on the part of receivers. Instead, these new theories claimed that meaning could be partially transferred, that patterns may become less predictable as people are exposed to a particular stimulus more often, and that interference at any point in the transmission could change the reaction.

These newer theories incorporated more contextual factors into the view of communication, acknowledging that both sender and receiver interpret messages based on their previous experience. Scholars realized that additional variables, such as psychological characteristics and social environment, had to be included in the study of mass communication. This approach connects to the interaction model of communication. In order to account for perspective and experience, mass media researchers connected to recently developed theories in perception that emerged from psychology. The concept of the gatekeeper emerged, since, for the first time, the sender of the message (the person or people behind the media) was the focus of research, and not just the receiver. The concepts of perceptual bias and filtering also became important, as they explained why some people interpreted or ignored messages while others did not. Theories of primacy and recency emerged to account for the variation in interpretation based on the order in which a message is received. Last, researchers explored how perceptions of source credibility affect message interpretation, and how media messages may affect viewers’ self-esteem. By the 1960s, many researchers in mass communication concluded that the research in the previous twenty years had been naïve and flawed, and they significantly challenged the theory of powerful media effects, putting much more emphasis on individual agency, context, and environment. Denis McQuail, McQuail’s Mass Communication Theory, 6th ed. (Thousand Oaks, CA: Sage, 2010), 457.

The next major turn in mass communication theory occurred only a few years after many scholars had concluded that media had no or only minimal effects.[34] n the 1970s, theories once again positioned media effects as powerful and influential based on additional influences from social psychology. From sociology, mass media researchers began to study the powerful socializing role that the media played, but also acknowledged that audience members take active roles in interpreting the media messages. During this time, researchers explored how audience members’ schemata and personalities affect message interpretation. Researchers also focused more on long-term effects, and how media messages create opinion climates, structures of belief, and cultural patterns.

Whether or not we acknowledge that how we think about technology or any other social construct is formed through our exposure to these messages, is not especially relevant. Many mass communication scholars now seek to describe, understand, or critique media practices rather than prove or disprove a specific media effect.

Additionally, mass communication scholars are interested in studying how we, as audience members, still have agency in how these constructions affect our reality, in that we may reject, renegotiate, or reinterpret a given message based on our own experiences. For example, a technology geek and a person living “off the grid” have very different lives and very different views of technology, but because of their exposure to various forms of media that have similar patterns of messages regarding technology, they still have some shared reality, and could talk in similar ways about computers, smartphones, and HD television. Given the shift of focus to negotiated meaning and context, this view of mass communication is more in keeping with the transactional model of communication.

Media Effects

Media effects are the intended or unintended consequences of what the mass media does.[35] Many of the key theories in mass communication rest on the assumption that the media has effects on audience members. The degree and type of effect varies depending on the theory. In general, we underestimate the effect that the media has on us, as we tend to think that media messages affect others more than us. This is actually so common that there is a concept for it! The third-party effect is the phenomenon where people think they are more immune to media influence than others. If this were true, though, would advertisers and public relations professionals spend billions of dollars a year carefully crafting messages aimed at influencing viewers?

There are certain media effects that are fairly obvious, and most of us would agree are common (even for ourselves). For example, we change our clothes and our plans because we watch the forecast on the Weather Channel, look up information about a band and sample their music after we see them perform on a television show, or stop eating melons after we hear about a salmonella outbreak. Other effects are more difficult to study and more difficult for people to accept because they are long term and/or more personal. For example, media may influence our personal sense of style, views on sex, perceptions of other races, or values just as our own free will, parents, or friends do. It is difficult, however, to determine in any specific case how much influence the media has on a belief or behavior in proportion to other factors that influence us. Media messages may also affect viewers in ways not intended by the creators of the message. Two media effects that are often discussed are reciprocal and boomerang effects.[36]

The reciprocal effect points to the interactive relationship between the media and the subject being covered. When a person or event gets media attention, it influences the way the person acts or the way the event functions. Media coverage often increases self-consciousness, which affects our actions. It’s similar to the way that we change behavior when we know certain people are around, and may be watching us. For example, the Occupy Movement that began on Wall Street in New York City gained some attention from alternative media and people using micromedia platforms like independent bloggers. Once the movement started getting mainstream press attention, the coverage affected the movement. As news of the Occupy movement in New York spread, people in other cities and towns across the country started to form their own protest groups . In this case, media attention caused a movement to spread that may have otherwise remained localized.

1024px-Day_14_Occupy_Wall_Street_September_30_2011_Shankbone_49
Figure 3.6

The boomerang effect refers to media-induced change that is counter to the desired change. In the world of twenty-four-hour news and constant streams of user-generated material, the effects of gaffes, blunders, or plain old poor decisions are much more difficult to control or contain. Before a group or person can clarify or provide context for what was said, a story could go viral and a media narrative constructed that is impossible to backtrack, and very difficult to even control. A recent example of such an effect occurred at the University of Virginia when the governing body of the university forced President Teresa A. Sullivan to resign. The board was not happy with the president’s approach to dealing with the changing financial and technological pressures facing the school, and thought ousting her may make room for a president who was more supportive of a corporate model of university governance.[37] When the story picked up local, and then national media coverage, students, faculty, and alumni came together to support Sullivan, and a week later she was reinstated. Instead of the intended effect of changing the direction and priorities for the university, the board’s actions increased support for the president, which could also likely add support to her plans for dealing with the issues.

Cultivation Theory

Cultivation theory is a media effects theory created by George Gerbner that states that media exposure, specifically to television, shapes our social reality by giving us a distorted view on the amount of violence and risk in the world. The theory also states that viewers identify with certain values and identities that are presented as mainstream on television even though they do not actually share those values or identities in their real lives.[38] Drawing on cultivation as it is practiced in farming, Gerbner turned this notion into a powerful metaphor to explain how the media, and television in particular, shapes our social realities. Just as a farmer plants seeds that he or she then cultivates over time to produce a crop, the media plants seeds in our minds and then cultivates them until they grow into our shared social reality.

Over decades of exploring cultivation theory, Gerbner made several well-supported conclusions that are summarized as follows:

  • Prime-time television shows and weekend morning children’s programming have been found to contain consistently high amounts of violence over the past thirty years.
  • Older people, children, African Americans, and Latino/as are more likely to be shown as victims of violence than are their young-adult, middle-aged, and/or white counterparts. This disparity is more meaningful when we realize that these groups are also underrepresented (relative to their percentage in the general population) on these shows, while their vulnerability to violence is overstated.
  • The effects of television viewing on our worldview build up over years, but in general, people who are more heavy viewers, perceive the world as more dangerous than do light viewers. Gerbner coined the phrase “mean world syndrome,” which refers to the distorted view of the world as more violent and people as more dangerous than they actually are.
    • Heavy viewers predict that their odds of being a victim of violence within the next week are 1 in 10, while light viewers predicted 1 in 100. Real crime statistics give a more reliable estimate of 1 in 10,000.
    • Heavy viewers fear walking alone on the street more than do light viewers, believing that criminal activity is actually ten times more prevalent than it actually is.
    • Heavy viewers believe that more people are involved in law enforcement, and that officers draw and use their weapons much more than is actually the case.
    • Heavy viewers are generally more suspicious of others and question their motives more than do light viewers (the basis of the mean world syndrome).
  • Given that most people on television are portrayed as politically moderate and middle class, heavy viewers are more likely to assume those labels, even though heavy users tend to be more working class or poor, and more politically conservative than moderate. In short, they begin to view themselves as similar to those they watch on television, and consider themselves a part of the mainstream of society even though they are not.

Public Relations

Whereas advertising is the paid use of media space to sell something, public relations (PR) is the attempt to establish and maintain good relations between an organization and its constituents. Alison Theaker, The Public Relations Handbook (Oxfordshire, England: Routledge, 2004), 4. Practically, PR campaigns strive to use the free press to encourage favorable coverage. In their book The Fall of Advertising and the Rise of PR, Al and Laura Ries make the point that the public trusts the press far more than they trust advertisements. Because of this, PR efforts that get products and brands into the press are far more valuable than a simple advertisement. Their book details the ways in which modern companies use public relations to far greater benefit than they use advertising.[39] Regardless of the fate of advertising, PR has clearly come to have an increasing role in marketing and ad campaigns.

The Four Models of PR

Todd Hunt and James Grunig developed a theory of four models of PR. This model has held up in the years since its development, and is a good introduction to PR concepts.[40]

Grunig and Hunt’s Four PR Models

Type of Model Description Example
Traditional publicity model (the press agentry model) Professional agents seek media coverage for a client, product, or event. Thong-clad actor Sacha Baron Cohen promotes Bruno by landing in Eminem’s lap at the 2009 MTV Video Music Awards.
Public information model Businesses communicate information to gain desired results. Colleges send informational brochures to potential students; a company includes an “about” section on its website.
Persuasive communication model (the two-way asymmetric model) Organizations attempt to persuade an audience to take a certain point of view. Public service announcements, like the one that shows “your brain” and “your brain on drugs.”
Two-way symmetric model Both parties make use of a back-and-forth discussion. A company sends out customer satisfaction surveys; company Facebook groups and message boards.

Source: James E. Grunig and Todd Hunt, Managing Public Relations (Belmont, CA: Wadsworth Publishing, 1984).

Traditional Publicity Model

Under the traditional publicity model, PR professionals seek to create media coverage for a client, product, or event. These efforts can range from wild publicity stunts to simple news conferences to celebrity interviews in fashion magazines. P. T. Barnum was an early American practitioner of this kind of PR. His outrageous attempts at publicity worked because he was not worried about receiving negative press; instead, he believed that any coverage was a valuable asset. More recent examples of this style of extreme publicity include controversy-courting musicians such as Lady Gaga and Marilyn Manson. More restrained examples of this type of PR include the modern phenomenon of faded celebrities appearing on television shows, such as Paula Abdul’s long-running appearances on American Idol.

Public Information Model

The goal of the public information model is to release information to a constituency. This model is less concerned with obtaining dramatic, extensive media coverage than with disseminating information in a way that ensures adequate reception. For example, utility companies often include fliers about energy efficiency with customers’ bills, and government agencies such as the IRS issue press releases to explain changes to existing codes. In addition, public interest groups release the results of research studies for use by policy makers and the public.

Persuasive Communication: Two-Way Asymmetric

The persuasive communication model, or the two-way asymmetric, works to persuade a specific audience to adopt a certain behavior or point of view. To be considered effective, this model requires a measured response from its intended audience.

Government propaganda is a good example of this model. Propaganda is the organized spreading of information to assist or weaken a cause.[41] Edward Bernays has been called the founder of modern PR for his work during World War I promoting the sale of war bonds. One of the first professional PR experts, Bernays made the two-way asymmetric model his early hallmark. In a famous campaign for Lucky Strike cigarettes, he convinced a group of well-known celebrities to walk in the New York Easter parade smoking Lucky Strikes. Most modern corporations employ the persuasive communication model.

Two-Way Symmetric Model

The two-way symmetric model requires true communication between the parties involved. By facilitating a back-and-forth discussion that results in mutual understanding, and an agreement that respects the wishes of both parties, this PR model is often practiced in town hall meetings and other public forums in which the public has a real effect on the results. In an ideal republic, Congressional representatives strictly employ this model. Many nonprofit groups that are run by boards and have public service mandates, use this model to ensure continued public support.

Commercial ventures also rely on this model. PR can generate media attention or attract customers, and it can also ease communication between a company and its investors, partners, and employees. The two-way symmetric model is useful in communicating within an organization because it helps employees feel they are an important part of the company. Investor relations are also often carried out under this model.

PR Functions

Either private PR companies or in-house communications staffers carry out PR functions. A PR group generally handles all aspects of an organization’s, or individual’s, media presence, including company publications and press releases. Such a group can range from just one person to dozens of employees depending on the size and scope of the organization.

PR functions include the following:

  • Media relations: takes place with media outlets
  • Internal communications: occurs within a company between management and employees, and among subsidiaries of the same company
  • Business-to-business: happens between businesses that are in partnership
  • Public affairs: takes place with community leaders, opinion formers, and those involved in public issues
  • Investor relations: occurs with investors and shareholders
  • Strategic communication: intended to accomplish a specific goal
  • Issues management: keeping tabs on public issues important to the organization
  • Crisis management: handling events that could damage an organization’s image[42]

Anatomy of a PR Campaign

PR campaigns occur for any number of reasons. They can be a quick response to a crisis or emerging issue, or they can stem from a long-term strategy tied in with other marketing efforts. Regardless of its purpose, a typical campaign often involves four phases.

Initial Research Phase

The first step of many PR campaigns is the initial research phase. First, practitioners identify and qualify the issue to be addressed. Then, they research the organization itself to clarify issues of public perception, positioning, and internal dynamics. Strategists can also research the potential audience of the campaign. This audience may include media outlets, constituents, consumers, and competitors. Finally, the context of the campaign is often researched, including the possible consequences of the campaign and the potential effects on the organization. After considering all of these factors, practitioners are better educated to select the best type of campaign.

Strategy Phase

During the strategy phase, PR professionals usually determine objectives focused on the desired goal of the campaign, and formulate strategies to meet those objectives. Broad strategies, such as deciding on the overall message of a campaign and the best way to communicate the message, can be finalized at this time.

Tactics Phase

During the tactics phase, the PR group decides on the means to implement the strategies they formulated during the strategy phase. This process can involve devising specific communication techniques, and selecting the forms of media that suit the message best. This phase may also address budgetary restrictions and possibilities.

Evaluation Phase

After the overall campaign has been determined, PR practitioners enter the evaluation phase. The group can review their campaign plan and evaluate its potential effectiveness. They may also conduct research on the potential results to better understand the cost and benefits of the campaign. Specific criteria for evaluating the campaign when it is completed are also established at this time.[43]

Examples of PR Campaigns

Since its modern inception in the early 20th century, PR has turned out countless campaigns—some highly successful, others dismal failures. Some of these campaigns have become particularly significant for their lasting influence or creative execution. This section describes a few notable PR campaigns over the years.

Diamonds for the Common Man

During the 1930s, the De Beers company had an enormous amount of diamonds and a relatively small market of luxury buyers. They launched a PR campaign to change the image of diamonds from a luxury good into an accessible and essential aspect of American life. The campaign began by giving diamonds to famous movie stars, using their built-in publicity networks to promote De Beers. The company created stories about celebrity proposals, and gifts between lovers, that stressed the size of the diamonds given. These stories were then given out to selected fashion magazines. The result of this campaign was the popularization of diamonds as one of the necessary aspects of a marriage proposal.[44]

Big Tobacco Aids Researchers

In 1953, studies showing the detrimental health effects of smoking caused a drop in cigarette sales. An alliance of tobacco manufacturers hired the PR group Hill & Knowlton to develop a campaign to deal with this problem. The first step of the campaign Hill & Knowlton devised was the creation of the Tobacco Industry Research Committee (TIRC) to promote studies that questioned the health effects of tobacco use. The TIRC ran advertisements featuring the results of these studies, giving journalists who were addressing the subject an easy source to quote. The groups working against smoking were not familiar with media relations, making it harder for journalists to quote them and use their arguments.

The campaign was effective, however, not because it denied the harmful effects of smoking, but because it stressed the disagreements between researchers. By providing the press with information favorable to the tobacco manufacturers and publicly promoting new filtered cigarettes, the campaign aimed to replace the idea that smoking was undeniably bad with the idea that there was disagreement over the effects of smoking. This strategy served tobacco companies well up through the 1980s.

Taco Bell Targets Mir

When the Russian space station Mir was set to crash land in the Pacific Ocean in 2001, Taco Bell created a floating vinyl target that the company placed in the Pacific. Taco Bell promised to give every American a free taco if the space station hit the target. This simple PR stunt gave all the journalists covering the Mir crash landing a few lines to add to their stories. Scientists even speculated on the chances of the station hitting the target—slim to none. Ultimately, the stunt gained Taco Bell global advertising.[45]

PR as a Replacement for Advertising

In some cases, PR has begun overtaking advertising as the preferred way of promoting a particular company or product. For example, the tobacco industry offers a good case study of the migration from advertising to PR. Regulations prohibiting radio and television cigarette advertisements had an enormous effect on sales. In response, the tobacco industry began using PR techniques to increase brand presence.

Tobacco company Philip Morris started underwriting cultural institutions and causes as diverse as the Joffrey Ballet, the Smithsonian, environmental awareness, and health concerns. Marlboro sponsored events that brought a great deal of media attention to the brand. For example, during the 1980s, the Marlboro Country Music Tour took famous country stars to major coliseums throughout the country and featured talent contests that brought local bands up on stage, increasing the audience even further. Favorable reviews of the shows generated positive press for Marlboro. Later interviews with country artists and books on country music history have also mentioned this tour.

On the fifth anniversary of the Vietnam Veterans Memorial in 1987, Marlboro’s PR groups organized a celebration hosted by comedian Bob Hope. Country music legends the Judds and Alabama headlined the show, and Marlboro paid for new names inscribed on the memorial. By attaching the Marlboro brand to such an important cultural event, the company gained an enormous amount of publicity. Just as importantly, these efforts at least partially restored the stature that the brand lost due to health concerns.[46]

Branding

While advertising is an essential aspect of initial brand creation, PR campaigns are vital to developing the more abstract aspects of a brand. These campaigns work to position a brand in the public arena in order to give it a sense of cultural importance.

Shift From Advertising to PR

Pioneered by such companies as Procter & Gamble during the 1930s, the older, advertising-centric model of branding focused on the product, using advertisements to associate a particular branded good with quality or some other positive cultural value. Yet, as consumers became exposed to ever-increasing numbers of advertisements, traditional advertising’s effectiveness dwindled. The ubiquity of modern advertising means the public is sceptical of—or even ignores—claims advertisers make about their products. This credibility gap can be overcome, however, when PR professionals using good promotional strategies step in.

The new PR-oriented model of branding focuses on the overall image of the company rather than on the specific merits of the product. This branding model seeks to associate a company with specific personal and cultural values that hold meaning for consumers. In the early 1990s, for example, car company Saturn marketed its automobiles not as a means of transportation, but as a form of culture. PR campaigns promoted the image of the Saturn family, associating the company with powerful American values, and giving Saturn owners a sense of community. Events such as the 1994 Saturn homecoming sought to encourage this sense of belonging. Some 45,000 people turned out for this event; families gave up their beach holidays simply to come to a Saturn manufacturing plant in Tennessee to socialize with other Saturn owners and tour the facility.

Recently Toyota faced a marketing crisis when it instituted a massive recall based on safety issues. To counter the bad press, the company launched a series of commercials featuring top Toyota executives, urging the public to keep their faith in the brand.[47] Much like the Volkswagen ads half a century before, Toyota used a style of self-awareness to market its automobiles. The positive PR campaign presented Toyotas as cars with a high standard of excellence, backed by a company striving to meet customers’ needs.

Studies in Success: Apple and Nike

Apple has also employed this type of branding with great effectiveness. By focusing on a consistent design style in which every product reinforces the Apple experience, the computer company has managed to position itself as a mark of individuality. Despite the cynical outlook of many Americans regarding commercial claims, the notion that Apple is a symbol of individualism has been adopted with very little irony. Douglas Atkin, who has written about brands as a form of cult, readily admits and embraces his own brand loyalty to Apple:

“I’m a self-confessed Apple loyalist. I go to a cafe around the corner to do some thinking and writing, away from the hurly-burly of the office, and everyone in that cafe has a Mac. We never mention the fact that we all have Macs. The other people in the cafe are writers and professors and in the media, and the feeling of cohesion and community in that cafe becomes very apparent if someone comes in with a PC. There’s almost an observable shiver of consternation in the cafe, and it must be discernable to the person with the PC, because they never come back.”

Brand managers that once focused on the product now find themselves in the role of community leaders, responsible for the well-being of a cultural image.[48]

Kevin Roberts, the current CEO of Saatchi & Saatchi Worldwide, a branding-focused creative organization, has used the term “lovemark” as an alternative to trademark. This term encompasses brands that have created “loyalty beyond reason,” meaning that consumers feel loyal to a brand in much the same way they would toward friends or family members. Creating a sense of mystery around a brand generates an aura that bypasses the usual cynical take on commercial icons. A great deal of Apple’s success comes from the company’s mystique. Apple has successfully developed PR campaigns surrounding product releases that leak selected rumors to various press outlets, but maintain secrecy over essential details, encouraging speculation by bloggers and mainstream journalists on the next product. All this combines to create a sense of mystery and an emotional anticipation for the product’s release.

Emotional connections are crucial to building a brand or lovemark. An early example of this kind of branding was Nike’s product endorsement deal with Michael Jordan during the 1990s. Jordan’s amazing, seemingly magical, performances on the basketball court created his immense popularity, which was then further built up by a host of press outlets and fans who developed an emotional attachment to Jordan. As this connection spread throughout the country, Nike associated itself with Jordan, and also with the emotional reaction he inspired in people. Essentially, the company inherited a PR machine that had been built around Jordan and that continued to function until his retirement.[49]

Branding Backlashes

An important part of maintaining a consistent brand is preserving the emotional attachment consumers have to that brand. Just as PR campaigns build brands, PR crises can damage them. For example, the massive Gulf of Mexico oil spill in 2010 became a PR nightmare for BP, an oil company that had been using PR to rebrand itself as an environmentally friendly energy company.

In 2000, BP began a campaign presenting itself as “Beyond Petroleum,” rather than British Petroleum, the company’s original name. By acquiring a major solar company, BP became the world leader in solar production, and in 2005, announced it would invest $8 billion in alternative energy over the following 10 years. BP’s marketing firm developed a PR campaign that, at least on the surface, emulated the forward-looking two-way symmetric PR model. The campaign conducted interviews with consumers, giving them an opportunity to air their grievances, and publicize energy policy issues. BP’s website featured a carbon footprint calculator consumers could use to calculate the size of their environmental impact.[50] The single explosion on BP’s deep-water oil rig in the Gulf of Mexico essentially nullified the PR work of the previous 10 years, immediately putting BP at the bottom of the list of environmentally concerned companies.

A company’s control over what its brand symbolizes can also lead to branding issues. The Body Shop, a cosmetics company that gained popularity during the 1980s and early 1990s, used PR to build its image as a company that created natural products, and took a stand on issues of corporate ethics. The company teamed up with Greenpeace and other environmental groups to promote green issues and increase its natural image.

By the mid-1990s, however, revelations about the unethical treatment of franchise owners called this image into serious question. The Body Shop had spent a great deal of time and money creating its progressive, spontaneous image. Stories of travels to exotic locations to research and develop cosmetics were completely fabricated, as was the company’s reputation for charitable contributions. Even the origins of the company had been made up as a PR tool: the idea, name, and even product list had been ripped off from a small California chain called the Body Shop that was later given a settlement to keep quiet. The PR campaign of the Body Shop made it one of the great success stories of the early 1990s, but the unfounded nature of its PR claims undermined its image dramatically. Competitor L’Oréal eventually bought the Body Shop for a fraction of its previous value.[51]

Other branding backlashes have plagued companies such as Nike and Starbucks. By building their brands into global symbols, both companies also came to represent unfettered capitalist greed to those who opposed them. During the 1999 World Trade Organization protests in Seattle, activists targeted Starbucks and Nike stores for physical attacks such as window smashing. Labor activists have also condemned Nike over the company’s use of sweatshops to manufacture shoes. Eventually, Nike created a vice president for corporate responsibility to deal with sweatshop issues.[52]

Relationship With Politics and Government

Politics and PR have gone hand in hand since the dawn of political activity. Politicians communicate with their constituents and make their message known using PR strategies. Benjamin Franklin’s trip as ambassador to France during the American Revolution stands as an early example of political PR that followed the publicity model. At the time of his trip, Franklin was an international celebrity, and the fashionable society of Paris celebrated his arrival; his choice of a symbolic American-style fur cap immediately inspired a new style of women’s wigs. Franklin also took a printing press with him to produce leaflets and publicity notices that circulated through Paris’s intellectual and fashionable circles. Such PR efforts eventually led to a treaty with France that helped the colonists win their freedom from Great Britain.[53]

Famous 20th-century PR campaigns include President Franklin D. Roosevelt’s Fireside Chats, a series of radio addresses that explained aspects of the New Deal. Roosevelt’s personal tone and his familiarity with the medium of radio helped the Fireside Chats become an important promotional tool for his administration and its programs. These chats aimed to justify many New Deal policies, and they helped the president bypass the press and speak directly to the people. More recently, Blackwater Worldwide, a private military company, dealt with criticisms of its actions in Iraq by changing its name. The new name, Xe Services, was the result of a large-scale PR campaign to distance the company from associations with civilian violence.[54]

The proliferation of media outlets and the 24-hour news cycle have led to changes in the way politicians handle PR. The gap between old PR methods and new ones became evident in 2006, when then Vice President Dick Cheney accidentally shot a friend during a hunting trip. Cheney, who had been criticized in the past for being secretive, did not make a statement about the accident for three days. Republican consultant Rich Galen explained Cheney’s silence as an older PR tactic that tries to keep the discussion out of the media. However, the old trick is less effective in the modern digital world.

That entire doctrine has come and gone. Now the doctrine is you respond instantaneously, and where possible with a strong counterattack. A lot of that is because of the Internet, a lot of that is because of cable television news.[55]

PR techniques have been used in propaganda efforts throughout the 20th century. During the 1990s, the country of Kuwait employed Hill & Knowlton to encourage U.S. involvement in the Persian Gulf region. One of the more infamous examples of their campaign was a heavily reported account by a Kuwaiti girl testifying that Iraqi troops had dumped babies out of incubators in Kuwaiti hospitals. Outrage over this testimony helped galvanize opinion in favor of U.S. involvement. As it turned out, the Kuwaiti girl was really the daughter of the Kuwaiti ambassador, and had not actually witnessed any of the alleged atrocities.[56]

Lobbyists also attempt to influence public policy using PR campaigns. The Water Environment Federation, a lobbying group representing the sewage industry, initiated a campaign to promote the application of sewage on farms during the early 1990s. The campaign came up with the word biosolids to replace the term sludge. Then it worked to encourage the use of this term as a way to popularize sewage as a fertilizer, providing information to public officials and representatives. In 1992, the U.S. Environmental Protection Agency adopted the new term and changed the classification of biosolids to a fertilizer from a hazardous waste. This renaming helped New York City eliminate tons of sewage by shipping it to states that allowed biosolids. John Stauber and Sheldon Rampton, Toxic Sludge is Good for You! (Monroe, ME: Common Courage Press, 1995), 105–119.

Political Branding

Politics has also embraced branding. Former President Bill Clinton described his political battles in terms of a brand war:

“[The Republicans] were brilliant at branding. They said they were about values…. Everybody is a values voter, but they got the brand … they said they were against the death tax … what a great brand…. I did a disservice to the American people not by putting forth a bad plan, but by not being a better brander, not being able to explain it better.”[57]

Branding has been used to great effect in recent elections. A consistently popular political brand is that of the outsider, or reform-minded politician. Despite his many years of service in the U.S. Senate, John McCain famously adopted this brand during the 2008 presidential election. McCain’s competitor, Barack Obama, also employed branding strategies. The Obama campaign featured several iconic portraits and slogans that made for a consistent brand, and encouraged his victory in 2008. Before Obama’s inauguration in January 2009, an unprecedented amount of merchandise was sold, a further testament to the power of branding.[58]

Branding as a New Form of Communication

That so many different groups have adopted branding as a means of communication is a testament to its ubiquity. Even anti-commercial, anti-brand groups such as Adbusters have created brands to send messages. Social media sites have also encouraged branding techniques by allowing users to create profiles of themselves that they use to communicate their core values. This personal application is perhaps the greatest evidence of the impact of advertising and PR on modern culture. Branding, once a technique used by companies to sell their products, has become an everyday means of communication.

Mass Media and Popular Culture

In 1850, an epidemic swept America—but instead of leaving victims sick with fever or flu, this was a rabid craze for the music of Swedish soprano Jenny Lind. American showman P. T. Barnum (who would later go on to found the circus we now know as Ringling Bros. and Barnum & Bailey Circus), a shrewd marketer and self-made millionaire, is credited with spreading “Lindomania” through a series of astute show-business moves. Barnum promised Lind an unprecedented thousand-dollar-a-night fee (the equivalent of close to $30,000 in today’s dollars) for her entire 93-performance tour of the United States. Ever the savvy self-promoter, Barnum turned this huge investment to his advantage, using it to drum up publicity—and it paid off. When the Swedish soprano’s ship docked on U.S. shores, she was greeted by 40,000 ardent fans; another 20,000 swarmed her hotel. Congress was adjourned during Lind’s visit to Washington, DC, where the National Theater had to be enlarged in order to accommodate her audiences. A town in California and an island in Canada were named in her honor. Enthusiasts could purchase Jenny Lind hats, chairs, boots, opera glasses, and even pianos.

A little more than a century later, a new craze transformed American teenagers into screaming, fainting Beatle-maniacs. When the British foursome touched down at Kennedy Airport in 1964, they were met by more than 3,000 frenzied fans. Their performance on The Ed Sullivan Show was seen by 73 million people, or 40 percent of the U.S. population. The crime rate that night dropped to its lowest level in 50 years. Beatlemania was at such a fever pitch that Life magazine cautioned that “A Beatle who ventures out unguarded into the streets runs the very real peril of being dismembered or crushed to death by his fans.”[59] The BBC helpfully pointed out that there was plenty of paraphernalia for true fans to spend their money on: “T-shirts, sweat shirts, turtle-neck sweaters, tight-legged trousers, night shirts, scarves, and jewelry inspired by the Beatles” were all available, as were Beatles-style moptop wigs.

In the 21st century, rabid fans could actually help decide the next pop stars through the reality television program American Idol. Derived from a British show, American Idol hit the airwaves in 2002, and became the only television program ever to earn the top spot in the Nielsen ratings for six seasons in a row, often averaging more than 30 million nightly viewers. Rival television networks quaked in fear, deeming the pop behemoth “the ultimate schoolyard bully,” “the Death Star,” or even “the most impactful show in the history of television.”[60] Newspapers put developments on the show on their front pages. New cell phone technologies allowed viewers to have a direct role in the program’s star-making enterprise through casting votes. Fans also could sign up for text alerts or play trivia games on their phones. In 2009, AT&T estimated that Idol-related text traffic amounted to 178 million messages.

An important consideration in any discussion of media and culture is the concept of popular culture. If culture is the expressed and shared values, attitudes, beliefs, and practices of a social group, organization, or institution, then what is popular culture? Popular culture is the media, products, and attitudes considered to be part of the mainstream of a given culture and the everyday life of common people. It is often distinct from more formal conceptions of culture that take into account moral, social, religious beliefs and values, such as our earlier definition of culture. It is also distinct from what some consider elite or high culture. For some people, American Idol is pop culture and opera is culture.

Pop culture and American media are inextricably linked—it’s no coincidence that Jenny Lind, the Beatles, and American Idol were each promoted using a then-new technology—photography for Lind; television for the Beatles; the Internet and text messaging for American Idol. For as long as mass media have existed in the United States, they have helped to create and fuel mass crazes, skyrocketing celebrities, and pop culture manias of all kinds. Whether through newspaper advertisements, live television broadcasts, or integrated Internet marketing, media industry “tastemakers” help to shape what we care about. Even in our era of seemingly limitless entertainment options, mass hits like American Idol still have the ability to dominate the public’s attention.

“The Tastemakers”

Historically, popular culture has been closely associated with mass media that introduce and encourage the adoption of certain trends. We can see these media as “tastemakers”—people or institutions that shape the way others think, eat, listen, drink, dress and more. Similar in some ways to the media gatekeepers discussed above, tastemakers can have huge influence. For example, The New York Times’ restaurant and theater reviews used to be able to make or break a restaurant or show with their opinions. Another example is Ed Sullivan’s variety show, which ran from 1948 to 1971, and is most famous for hosting the first U.S. appearance of the Beatles—a television event that was at the time the most-watched television program ever. Sullivan hosted musical acts, comedians, actors, and dancers, and had the reputation of being able to turn an unknown performer into a full-fledged star. Comedian Jackie Mason compared being on The Ed Sullivan Show to “an opera singer being at the Met. Or if a guy is an architect that makes the Empire State Building.…This was the biggest.”[61] Sullivan was a classic example of an influential tastemaker of his time. American Idol’s Simon Cowell had similar influence as his show helped turn unknown local performers into international stars. Television hosts and comics Jon Stewart and Stephen Colbert can be understood as tastemakers of progressive national politics.

Along with encouraging a mass audience to keep an eye out for (or skip) certain movies, television shows, video games, books, or fashion trends, tastemaking is also used to create demand for new products. Companies often turn to advertising firms to help create a public hunger for an object that may have not even existed six months previously. In the 1880s, when George Eastman developed the Kodak camera for personal use, photography was the realm of professionals. Ordinary people simply did not think about taking photographs. “Though the Kodak was relatively cheap and easy to use, most Americans didn’t see the need for a camera; they had no sense that there was any value in visually documenting their lives,” noted  New Yorker writer James Surowiecki.[62] George Eastman’s advertising introduced the very idea of photography to everyday Americans. Kodak became a wildly successful company not because Eastman was good at selling cameras, but because he understood that what he really had to sell was photography.

Tastemakers can help keep culture vital by introducing the public to new ideas, music, programs, or products. But the ability to sway or influence the tastes of consumers can be worth millions of dollars. In the traditional media model, media companies set aside large advertising budgets to promote their most promising projects. Tastemakers are encouraged to buzz about “the next big thing.” In untraditional models, bribery and backroom deals also have helped promote performers or projects. For example, the Payola Scandal of the 1950s involved record companies paying the disc jockeys of radio stations to play certain records so those records would become hits. Payola is a combination of the words “pay” and “Victrola,” a record player. Companies today sometimes pay bloggers to promote their products.

A Changing System for the Internet Age

In retrospect, the 20th century was a tastemaker’s dream. Media choices were limited. Many cities and towns had just three television channels, one or two newspapers, and one or two dominant radio stations. Advertisers, critics, and other cultural influencers had access to huge audiences through a small number of mass communication platforms. However, by the end of the century, the rise of cable television and the Internet had begun to make tastemaking a much more complicated enterprise. While The Ed Sullivan Show regularly reached 50 million people in the 1960s, the most popular television series of 2009—American Idol—averaged around 25.5 million viewers per night, despite the fact that the 21st century United States could claim more people and more television sets than ever before. The proliferation of television channels and other, competing forms of entertainment meant that no one program or channel could dominate the attention of the American public as in Sullivan’s day.

Viewings of Popular Television Broadcasts

Show/Episode Number of Viewers Percentage of Households Year
The Ed Sullivan Show, Beatles’ first appearance 73 million 45.1 1964
The Ed Sullivan Show, Elvis’s first appearance 60 million 82.6 1956
I Love Lucy, “Lucy Goes to the Hospital” 44 million 71.7 1953
M*A*S*H series finale 106 million 60.2 1983
Seinfeld series finale 76 million 41.3 1998
American Idol season five finale 36 million 17 2006

The very concept of a “tastemaker” is undergoing a transformation. While the American Idol season five finale was reaching 36 million viewers, a low-tech home recording of a little boy acting loopy after a visit to the dentist (“David After Dentist”) garnered more than 37 million YouTube viewings in 2009 alone. The Internet appears to be eroding some of the tastemaking power of the traditional media outlets. No longer are the traditional mass media the only dominant forces in creating and promoting trends. Instead, information can spread across the globe without any involvement of traditional media. Websites made by non professionals can reach more people daily than a major newspaper. Music review sites such as Pitchfork.com keep their eyes out for the next big thing, whereas review aggregators like RottenTomatoes.com allow readers to read hundreds of reviews by amateurs and professionals alike. Mobile applications like Yelp allow consumers to get individual reviews of a restaurant while they are standing outside it. Blogs make it possible for anyone with Internet access to potentially reach an audience of millions. Some popular bloggers transitioned from the traditional media world to the digital world, but others became well known without formal institutional support. The celebrity gossip chronicler Perez Hilton had no formal training in journalism when he started his blog, PerezHilton.com, in 2005; within a few years, he was reaching millions of readers a month.

Email and text messages allow for the near-instant transmission of messages across vast geographic expanses. Although personal communications continue to dominate, email and text messages are increasingly used to directly transmit information about important news events. When Barack Obama wanted to announce his selection of Joe Biden as his vice-presidential running mate in the 2008 election, he bypassed the traditional televised press conference and instead sent the news to his supporters directly via text message—2.9 million text messages, to be exact.[63] Social networking sites, such as Facebook, and microblogging services, such as Twitter, are another source of late-breaking information. When Michael Jackson died of cardiac arrest in 2009, “RIP Michael Jackson” was a top trending topic on Twitter before mainstream media first reported the news.

Thanks to these and other digital-age media, the Internet has become a pop culture force, both a source of amateur talent and a source of amateur promotion. However, traditional media outlets still maintain a large amount of control and influence over U.S. pop culture. One key indicator is the fact that many singers or writers who first make their mark on the Internet quickly transition to more traditional media—YouTube star Justin Bieber was snapped up by a mainstream record company, and blogger Perez Hilton is regularly featured on MTV and VH1. New media stars are quickly absorbed into the old media landscape.

Getting Around the Gatekeepers

Not only does the Internet allow little known individuals to potentially reach a huge audience with their art or opinions, but it also allows content-creators to reach fans directly. Projects that may have not succeeded as part of the established pop culture/mass media machine may get a chance in the digital world. For example, the media establishment has been surprised by the success of some self-published books: first-time author Daniel Suarez had his novel manuscript rejected by dozens of literary agents before he decided to self-publish in 2006. Through savvy self-promotion via influential bloggers, Suarez garnered enough attention to land a contract with a major publishing house.

Suarez’s story, though certainly exceptional, points to some of the questions facing creators and consumers of pop culture in the Internet age. Without the influence of an agent, editor, or public relations firm, self-published content may be able to remain closer to the creator’s intention. However, how then does the content reach the public? Does every artist have to have the public relations and marketing skills of Suarez? And with so many self-published, self-promoted works uploaded to the Internet every day, how will any work—even great work—get noticed? It’s not impossible. Critic Laura Miller spells out some of the ways in which writers in particular are able to take control of their own publishing: Writers can upload their works to services run by Amazon, Apple, and Barnes & Noble, she notes, “transforming them into e-books that are instantly available in high-profile online stores. Or they can post them on services like Urbis.com, Quillp.com, or CompletelyNovel.com and coax reviews from other hopeful users.” Miller also points out that many of these companies can produce hard copies of books as well. While such a system may be a boon for writers who haven’t had success with the traditional media establishment, Miller notes that it may not be the best option for readers, who “rarely complain that there isn’t enough of a selection on Amazon or in their local superstore; they’re more likely to ask for help in narrowing down their choices.” [64]

The commingling of the Internet and popular culture poses many intriguing questions for our future: will the Internet era be marked by a huge and diffuse pop culture, where the power of traditional mass media declines and, along with it, the power of the universalizing blockbuster hit? Or will the Internet create a new set of tastemakers—influential bloggers or Tweeters? Or will the Internet serve as a platform for the old tastemakers to take on new forms? Or will the tastemakers become everyone?

More Reviewers = More Accurate Reviews… Right?

In 1993, The New York Times restaurant critic Ruth Reichl visited one of Manhattan’s snootiest restaurants, Le Cirque, first as herself, a fashionable New Yorker, and then, one week later, in the guise of a frumpy Midwesterner. In her shocking review, the critic lambasted the restaurant’s rude treatment of “Midwestern Molly”—an early battle in the fight for democratic reviews. Part of the point of Reichl’s experiment was to find out how ordinary people were treated in restaurants. Now ordinary people can tell their own tales. The Internet, which has turned everyone with the time and interest into a potential reviewer, allows those ordinary people to have their voices heard. In the mid-2000s, websites such as Yelp and TripAdvisor boasted hundreds of reviews of restaurants, hotels, and salons provided by users. Amazon allowed users to review any product it sells, from textbooks to fertilizer to bathing suits. The era of the democratized review was upon us, and tastemaking was now everyone’s job.

By crowdsourcing the review process, the idea was, these sites would arrive at a more accurate description of the service in choice. One powerful reviewer would no longer be able to wield disproportionate power. Instead, the wisdom of the crowd would make or break restaurants, movies, and everything else. Anyone who felt treated badly, or scammed, now had recourse to tell the world about it. By 2008, Yelp boasted four million reviews.

However, mass tastemaking isn’t as perfect as some people had promised. One determined reviewer can overly influence a product’s overall rating by contributing multiple votes. One study found that a handful of Amazon users were casting hundreds of votes, while most rarely wrote reviews at all. Online reviews also tend to skew to extremes—more reviews are written by the ecstatic and the furious, while the moderately pleased aren’t riled up enough to post online about their experiences. And while traditional critics are supposed to uphold ethics, there’s no such standard for online reviews. Savvy authors or restaurant owners have been known to slyly insert positive reviews of themselves, or have attempted to skew ratings systems. In order to get an accurate picture, potential buyers may find themselves wading through 20 or 30 online reviews, most of them from non-professionals. Consider these Amazon user reviews of William Shakespeare’s “Hamlet”: “There is really no point and it’s really long,” “I really didn’t enjoy reading this book and I wish that our English teacher wouldn’t force my class to read this play,” and “don’t know what Willy Shakespeare was thinking when he wrote this one play tragedy, but I thought this sure was boring! Hamlet does too much talking and not enough stuff.” Such unhelpful reviews have begun to remind people of the point of having reviews in the first place—that it’s an advantage to have certain places, products, or ideas examined and critiqued by a trusted source. In an article about Yelp, The New York Times noted that one of the site’s elite reviewers had racked up more than 300 reviews in 3 years, then snidely pointed out that “By contrast, a The New York Times restaurant critic might take six years to amass 300 reviews. The critic visits a restaurant several times, strives for anonymity and tries to sample every dish on the menu.”[65] Whatever your vantage point, it’s clear that old-style tastemaking is still around and still valuable, but the democratic review is here to stay.

Links to Resources

3.3 Advertising, Government Regulations, and Cultural Values

Key Terms

obscenity Copyright law propaganda
Gatekeepers advergames

Cultural Values Shape Media; Media Shape Cultural Values

In a 1995 Wired magazine article, Jon Katz suggested that the Revolutionary War patriot Thomas Paine should be held up as “the moral father of the Internet.” The Internet, Katz wrote, “offers what Paine and his revolutionary colleagues hoped for—a vast, diverse, passionate, global means of transmitting ideas and opening minds.” In fact, according to Katz, the emerging Internet era is closer in spirit to the 18th-century media world than the 20th-century’s so-called old media (radio, television, print). “The ferociously spirited press of the late 1700s…was dominated by individuals expressing their opinions. The idea that ordinary citizens with no special resources, expertise, or political power—like Paine himself—could sound off, reach wide audiences, even spark revolutions, was brand-new to the world.”[66] As we continue our introduction to understanding media and culture, Katz’s impassioned defense of Paine’s plucky independence reminds us of how cultural values shape media. Paine’s values led to his books and pamphlets that helped lead to a new nation. In all eras, cultural values shape the way media are created, used, and controlled. Keeping Katz’s words in mind, we can ask ourselves further questions about the role of cultural values in our media today. How do cultural values shape our media and mass communication? And how, in turn, do media and mass communication shape our values? We’ll start with a key American cultural value: free speech.

Free Speech as Cultural Value

The value of free speech is central to American mass communication, and has been since the nation’s revolutionary founding. The U.S. Constitution’s very first amendment guarantees freedom of speech of the individual, and of the press. Thanks to the First Amendment and subsequent statutes, the United States has some of the broadest protections on speech of any industrialized nation. We can see the value that American culture places on free speech. However, speech and the press are not always free—cultural values have placed limits and those limits, like values, have shifted over time.

Obscenity, for example, has not often been tolerated. Indeed, the very definition of obscenity has shifted over time with the nation’s changing social attitudes. James Joyce’s Ulysses, ranked by the Modern Library as the best English-language novel of the 20th century, was illegal to publish in the United States between 1922 and 1934. The 1954 Supreme Court case, Roth v. The United States, tried to lessen restrictions, and defined obscenity more narrowly. It allowed for differences depending on “community standards.” Obscenity became even more of an issue during the sexual revolution of the 1960s. Cultural changes of that era made it even more difficult to pin down just what was obscene and what was meant by “community standards.” Today, obscenity continues its tug-of-war with cultural values. Sexually explicit magazines, such as Playboy, are available in nearly every U.S. airport, but pornography on the Internet is still a subject of concern.

Copyright law also puts limits on free speech. Here we see a conflict between cultural values of free speech, and the right to protect your creative rights. Intellectual property law was originally intended to protect just that—the proprietary rights, both economic and intellectual, of the originator of a creative work. Works under copyright can’t be reproduced without the authorization of the creator, nor can anyone else use them to make a profit. Inventions, novels, musical tunes, and even phrases can all be covered by copyright law. The first copyright statute in the United States set 14 years as the maximum term for copyright protection. This number has risen exponentially in the 20th century; some works are now copyright protected for up to 120 years. In recent years, an Internet culture that enables file sharing, mixing, mash-ups, and YouTube parodies has raised questions about copyright. Can you refer to a copyrighted work? What is fair use of a copyrighted work? The exact line between what expressions are protected or prohibited by law are still being set by courts; and as the changing values of the U.S. public evolve, copyright law—like obscenity law—will continue to change as well.

Persuasion and Cultural Values

Cultural values also shape mass media messages when producers of media content have vested interests in particular social goals. The producers offer media content that promotes or refutes particular viewpoints. Governments, corporations, nonprofits, colleges, indeed most organizations, all try to shape media content to promote themselves and their values. In its most heavy-handed form, at the level of government, this type of media influence can become propaganda, communication that intentionally attempts to persuade its audience for ideological, political, or commercial purposes. Propaganda often (but not always) distorts the truth, selectively presents facts, or uses emotional appeals. In war time, propaganda often includes caricatures of the enemy.

During World War I, for example, the U.S. government created the Creel Commission to act as a sort of public relations agency for the American entry into the war. The commission used radio, movies, posters, and in-person speakers to present a positive slant on the American war effort and demonize the opposing Germans. George Creel, chairman of the commission, acknowledged the committee’s attempt at influencing the public, but he shied away from calling its work propaganda:

“In no degree was the committee an agency of censorship, a machinery of concealment or repression.…In all things, from first to last, without halt or change, it was a plain publicity proposition, a vast enterprise in salesmanship, the world’s greatest adventures in advertising… We did not call it propaganda, for that word, in German hands, had come to be associated with deceit and corruption. Our effort was educational and informative throughout, for we had such confidence in our case as to feel that no other argument was needed than the simple, straightforward presentation of the facts.”[67]

Of course, the line between the selective (but “straightforward”) presentation of the truth and the manipulation of propaganda is not an obvious or distinct one. (Another of the commission’s members was later deemed “the father of public relations” and authored a book titled Propaganda.) Advertisers craft messages so viewers want to buy their products. Some news sources, such as cable news channels or political blogs, have an explicit political slant. For our purposes, we simply want to keep in mind how cultural values shape much media content.

The Cultural Value of Gatekeepers

In 1960, journalist A. J. Liebling wryly observed that “freedom of the press is guaranteed only to those who own one.” Although he may not have put it in those terms, Liebling was talking about the role of gatekeepers in the media industry, another way in which cultural values influence mass communication. Gatekeepers are the people who help determine which stories make it to the public, including reporters who decide what sources to use, and editors who pick what gets published and which stories make it to the front page. Media gatekeepers are part of culture and thus have their own cultural values, whether consciously or unconsciously. In deciding what counts as newsworthy, entertaining, or relevant, gatekeepers use their own values to create and shape what gets presented to the wider public. Conversely, gatekeepers may decide that some events are unimportant or uninteresting to consumers. Those events may never reach the eyes or ears of a larger public.

In one striking example of how cultural values shape gatekeeping, journalist Allan Thompson points to the news media’s sluggishness in covering the Rwandan genocide in 1994. Almost one million people were killed in ferocious attacks in just 100 days. Yet, as Thompson notes, few foreign correspondents were in Africa, and the world was slow to learn of the atrocities in Rwanda. Instead, the nightly news was preoccupied by the O. J. Simpson murder trial, Tonya Harding’s attack on a fellow figure skater, or the less-bloody conflict in Bosnia (a European country, where more reporters were stationed). Thompson argues that the lack of international media attention allowed politicians to remain complacent. With little media coverage, there was little outrage about the Rwandan atrocities, which contributed to a lack of political will to invest time and troops in a faraway conflict. Richard Dowden, Africa Editor for the British newspaper The Independent during the Rwandan genocide, bluntly explained the news media’s larger reluctance to focus on African issues: “Africa was simply not important. It didn’t sell newspapers. Newspapers have to make profits. So it wasn’t important. Cultural values by gatekeepers on the individual and institutional level downplayed the genocide at a time of great crisis, and potentially contributed to the deaths of hundreds of thousands of people.” George Creel, How We Advertised America (New York: Harper & Brothers, 1920).[68]

Gatekeepers had an especially strong influence in old media, in which space and time were limited. A news broadcast could only last for its allotted half hour, 22 minutes with commercials, while a newspaper had a set number of pages to print. The Internet, in contrast, has room for infinite news reports. The interactive nature of the medium also minimizes the gatekeeper function of the media by allowing media consumers to have a voice as well. News aggregators like Digg.com allow readers to decide what makes it on to the front page. That is not to say that the wisdom or cultural values of the crowd is always wise—recent top stories on Digg have featured headlines like “Top 5 Hot Girls Playing Video Games” and “The girl who must eat every 15 minutes to stay alive.” Media expert Mark Glaser noted that the digital age hasn’t eliminated gatekeepers; it’s just shifted who they are: “the editors who pick featured artists and apps at the Apple iTunes store, who choose videos to spotlight on YouTube, and who highlight Suggested Users on Twitter,” among others. And unlike traditional media, these new gatekeepers rarely have public bylines, making it difficult to figure out who makes such decisions and on what basis.[69] Observing how distinct cultures and subcultures present the same story can be indicative of those cultures’ various cultural values. Another way to look critically at today’s media messages is to examine how the media has functioned in the world and in the United States during different cultural periods.

Government Regulation of Advertising

Advertising regulation has played an important role in of advertising’s history and cultural influence. One of the earliest federal laws addressing advertising was the Pure Food and Drug Law of 1906. A reaction to public outcry over the false claims of patent medicines, this law required informational labels to be placed on these products. It did not, however, address the questionable aspects of the advertisements, so it did not truly delve into the issue of false advertising.[70]

The Formation of the FTC

Founded in 1914, the Federal Trade Commission became responsible for regulating false advertising claims. Although federal laws concerning these practices made plaintiffs prove that actual harm was done by the advertisement, state laws passed during the early 1920s allowed prosecution of misleading advertisements regardless of harm done.[71] The National Association of Attorneys General has helped states remain an important part of advertising regulation. In 1995, 13 states passed laws that required sweepstakes companies to provide full disclosure of rules and details of contests.[72]

FTC Seal
Figure 3.7

During the Great Depression, New Deal legislation threatened to outlaw any misleading advertising, a result of the burgeoning consumer movement and the public outcry against advertising during the period.[73]  The reformers did not fully achieve their goals, but they did make a permanent mark on advertising history. The 1938 Wheeler-Lea Amendment expanded the FTC’s role to protect consumers from deceptive advertising. Until this point, the FTC was responsible for addressing false advertising complaints from competitors. With this legislation, the agency also became an important resource for the consumer movement.

Truth in Advertising

In 1971, the FTC began the Advertising Substantiation Program to force advertisers to provide evidence for the claims in their advertisements. Under this program, the FTC gained the power to issue cease-and-desist orders to advertisers regarding specific ads in question and to order corrective advertising. Under this provision, the FTC can force a company to issue an advertisement acknowledging and correcting an earlier misleading ad. Regulations under this program established that supposed experts used in advertisements must be qualified experts in their field, and celebrities must actually use the products they endorse.[74] In 2006, Sunny Health Nutrition was brought to court for advertising height-enhancing pills called HeightMax. The FTC found the company had hired an actor to appear as an expert in its ads, and that the pills did not live up to their claim. Sunny Health Nutrition was forced to pay $375,000 to consumers for misrepresenting its product.[75]

In 1992, the FTC introduced guidelines defining terms such as biodegradable and recyclable. The growth of the environmental movement in the early 1990s led to an upsurge in environmental claims by manufacturers and advertisers. For example, Mobil Oil claimed their Hefty trash bags were biodegradable. While technically this statement is true, a 500- to 1,000-year decomposition cycle does not meet most people’s definitions of the term.[76] The FTC guidelines made such claims false by law.[77]

Regulation of the Internet

The FTC has also turned its attention to online advertising. The Children’s Online Privacy Act of 1998 was passed to prohibit companies from obtaining the personal information of children who access websites or other online resources. Because of the youth orientation of the Internet, newer advertising techniques have drawn increasing criticism. Alcohol companies in particular have come under scrutiny. Beer manufacturer Heineken’s online presence includes a virtual city in which users can own an apartment and use services such as email. This practice mirrors that of children’s advertising, in which companies often create virtual worlds to immerse children in their products. However, the age-verification requirements to participate in this type of environment are easily falsified and can lead to young children being exposed to more mature content.[78]

Consumer and privacy advocates who are concerned over privacy intrusions by advertisers have also called for Internet ad regulation. In 2009, the FTC acted on complaints against Sears that resulted in an injunction against the company for not providing sufficient disclosure. Sears offered $10 to consumers to download a program that tracked their Internet browsing. The FTC came down on Sears because the downloaded software tracked sensitive information that was not fully disclosed to the consumer. Similar consumer complaints against Facebook and Google for their consumer tracking have, at present, not resulted in FTC actions; however, the growing outcry makes new regulation of Internet advertising likely. Mike Shields, “Pitching Self-Regulation,” Adweek, February 15, 2010.

Advertising’s Influence on Culture

Discussing advertising’s influence on culture raises a long-standing debate. One opinion states that advertising simply reflects the trends inherent in a culture, the other claims advertising takes an active role in shaping culture. Both ideas have merit and are most likely true to varying degrees.

Advertising and the Rise of Consumer Culture

George Babbitt, the protagonist of Sinclair Lewis’s 1922 novel Babbitt, was a true believer in the growing American consumer culture:

Just as the priests of the Presbyterian Church determined his every religious belief … so did the national advertisers fix the surface of his life, fix what he believed to be his individuality. These standard advertised wares—toothpastes, socks, tires, cameras, instantaneous hot-water heaters—were his symbols and proofs of excellence; at first the signs, and then the substitutes, for joy and passion and wisdom. [79]

Although Lewis’s fictional representation of a 1920s-era consumer may not be an actual person, it indicates the national consumer culture that was taking shape at the time. As it had always done, advertising sought to attach products to larger ideas and symbols of worth and cultural values. However, the rise of mass media and of the advertising models that these media embraced made advertising take on an increasingly influential cultural role.

Automobile ads of the 1920s portrayed cars as a new, free way of life rather than simply a means of transportation. Advertisers used new ideas about personal hygiene to sell products and ended up breaking taboos about public discussion of the body. The newly acknowledged epidemics of halitosis and body odor brought about products such as mouthwash and deodorant. A Listerine campaign of the era transformed bad breath from a nuisance into the mark of a sociopath.[80]Women’s underwear and menstruation went from being topics unsuitable for most family conversations to being fodder for the pages of national magazines.[81]

Creating the Modern World

World War I bond campaigns had made it clear that advertising could be used to influence public beliefs and values. Advertising focused on the new—making new products and ideas seem better than older ones, and ushering in a sense of the modernity. In an address to the American Association of Advertising Agencies in 1926, President Coolidge went as far as to hold advertisers responsible for the “regeneration and redemption of mankind.”[82]

Up through the 1960s, most advertising agencies were owned and staffed by affluent white men, and advertising’s portrayals of typical American families reflected this status quo. Mainstream culture as propagated by magazine, radio, and newspaper advertising was that of middle- or upper-class white suburban families.[83] This sanitized image of the suburban family, popularized in such TV programs as Leave It to Beaver, has been mercilessly satirized since the cultural backlash of the 1960s.

A great deal of that era’s cultural criticism targeted the image of the advertiser as a manipulator and promulgator of superficial consumerism. When advertisers for Volkswagen picked up on this criticism, turned it to their advantage, and created a new set of consumer symbols that would come to represent an age of rebellion, they neatly co-opted the arguments against advertising for their own purposes. In many instances, advertising has functioned as a codifier of its own ideals by taking new cultural values and turning them into symbols of a new phase of consumerism. This is the goal of effective advertising.

Apple’s 1984 campaign is one of the most well-known examples of defining a product in terms of new cultural trends. A fledgling company compared to computer giants IBM and Xerox, Apple spent nearly $2 million on a commercial that would end up only being aired once.[84] During the third quarter of the 1984 Super Bowl, viewers across the United States watched in amazement as an ad unlike any other at the time appeared on their TV screens. The commercial showed a drab gray auditorium where identical individuals sat in front of a large screen. On the screen was a man, addressing the audience with an eerily captivating voice. “We are one people, with one will,” he droned. “Our enemies shall talk themselves to death. And we will bury them with their own confusion. We shall prevail!”[85] While the audience sat motionlessly, one woman ran forward with a sledgehammer and threw it at the screen, causing it to explode in a flash of light and smoke. As the scene faded out, a narrator announced the product. “On January 24, Apple Computer will introduce the Macintosh. And you’ll see why 1984 won’t be like 1984.”[86] With this commercial, Apple defined itself as a pioneer of the new generation. Instead of marketing its products as utilitarian tools, it advertised them as devices for combating conformity.[87] Over the next few decades, other companies imitated this approach, presenting their products as symbols of cultural values.

In his study of advertising’s cultural impact, The Conquest of Cool, Thomas Frank compares the advertising of the 1960s with that of the early 1990s:

“How must have rejoiced when the leading minds of the culture industry announced the discovery of an all-new angry generation, the “Twenty-Somethings,” complete with a panoply of musical styles, hairdos, and verbal signifiers ready-made to rejuvenate advertising’s sagging credibility…. The strangest aspect of what followed wasn’t the immediate onslaught of even hipper advertising, but that the entire “Generation X” discourse repeated … the discussions of youth culture that had appeared in Advertising Age, Madison Avenue, and on all those youth-market panel discussions back in the sixties.”[88]

To be clear, advertisers have not set out to consciously manipulate the public in the name of consumer culture. Rather, advertisers are simply doing their job—one that has had an enormous influence on culture.

Advertising Stereotypes

The white, middle-class composition of ad agencies contributed to advertisements’ rare depictions of minority populations. DDB—the agency responsible for the Volkswagen ads of the 1960s—was an anomaly in this regard. One of its more popular ads was for Levy’s rye bread. Most conventional advertisers would have ignored the ethnic aspects of this product and simply marketed it to a mainstream white audience. Instead, the innovative agency created an ad campaign that made ethnic diversity a selling point, with spots featuring individuals from a variety of racial backgrounds eating the bread with the headline “You don’t have to be Jewish to love Levy’s.”

During the 1950s, stereotypical images of African Americans promulgated by advertisers began to draw criticism from civil rights leaders. Icons such as Aunt Jemima, the Cream of Wheat chef, and the Hiram Walker butler were some of the most recognizable black figures in U.S. culture. Unlike the African Americans who had gained fame through their artistry, scholarship, and athleticism, however, these advertising characters were famous for being domestic servants.

During the 1960s, meetings of the American Association of Advertising Agencies (AAAA) hosted civil rights leaders, and agencies began to respond to the criticisms of bias. A New York survey in the mid-1960s discovered that blacks were underrepresented at advertising agencies. Many agencies responded by hiring new African American employees, and a number of black-owned agencies started in the 1970s.[89]

Early advertising frequently reached out to women because they made approximately 80 percent of all consumer purchases. Thus, women were well represented in advertising. However, those depictions presented women in extremely narrow roles. Through the 1960s, ads targeting women generally showed them performing domestic duties such as cooking or cleaning, whereas ads targeting men often placed women in a submissive sexual role, even if the product lacked any overt sexual connotation. A National Car Rental ad from the early 1970s featured a disheveled female employee in a chair with the headline “Go Ahead, Take Advantage of Us.” Another ad from the 1970s pictured a man with new Dacron slacks standing on top of a woman, proclaiming, “It’s nice to have a girl around the house.”[90]

An advertising profile printed in Advertising Age magazine gave a typical advertiser’s understanding of the housewife at the time: “She likes to watch TV and she does not enjoy reading a great deal. She is most easily reached through TV and the simple down-to-earth magazines…. Mental activity is arduous for her…. She is a person who wants to have things she can believe in rather than things she can think about.”[91] The National Organization for Women (NOW) created a campaign during the early 1970s targeting the role of women in advertisements. Participants complained about the ads to networks and companies, and even spray-painted slogans on offensive billboards in protest.

Representation of minorities and women in advertising has improved since the 1960s and 1970s, but it still remains a problem. The 2010 Super Bowl drew one of the most diverse audiences ever recorded for the event, including a 45 percent female audience. Yet the commercials remained focused strictly on men. And of 67 ads shown during the game, only four showed minority actors in a lead role. Despite the obvious economic benefit of diversity in marketing, advertising practices have resisted change.[92]

Advertising to Children

The majority of advertisements that target children feature either toys or junk food. Children under the age of 8 typically lack the ability to distinguish between fantasy and reality, and many advertisers use this to their advantage. Studies have shown that most children-focused food advertisements feature high-calorie, low-nutrition foods such as sugary cereals. Although the government regulates advertising to children to a degree, the Internet has introduced new means of marketing to youth that have not been addressed. Online video games called advergames feature famous child-oriented products. The games differ from traditional advertising, however, because the children playing them will experience a much longer period of product exposure than they do from the typical 30-second television commercial. Child advocacy groups have been pushing for increased regulation of advertising to children, but it remains to be seen whether this will take place.[93]

Positive Effects of Advertising

Although many people focus on advertising’s negative outcomes, the medium has provided unique benefits over time. Early newspaper advertising allowed newspapers to become independent of church and government control, encouraging the development of a free press with the ability to criticize powerful interests. When newspapers and magazines moved to an advertising model, these publications became accessible to large groups of people who previously could not afford them. Advertising also contributed to radio’s and television’s most successful eras. Radio’s golden age in the 1940s and television’s golden age in the 1950s, both took place when advertisers were creating or heavily involved with the production of most of the programs.

Advertising also makes newer forms of media both useful and accessible. Many Internet services, such as email and smartphone applications, are only free because they feature advertising. Advertising allows promoters and service providers to reduce and sometimes eliminate the upfront purchase price, making these services available to a greater number of people and allowing lower economic classes to take part in mass culture.

Advertising has also been a longtime promoter of the arts. During the Renaissance, painters and composers often relied on wealthy patrons or governments to promote their work. Corporate advertising has given artists new means to fund their creative efforts. In addition, many artists and writers have been able to support themselves by working for advertisers. The use of music in commercials, particularly in recent years, has provided musicians with notoriety and income. Indeed, it is hard to imagine the cultural landscape of the United States without advertising.

Links to Resources

3.4 Influencing America’s Prespective

Key Terms

stereotypes direct effects model agenda-setting theory
uses and gratifications theory symbolic interactionism spiral of silence
media logic cultivation analysis passive audience
active audience media bias

Mass Media and Its Messages

When media consumers think of media messages, they may think of televised public service announcements or political advertisements. These obvious examples provide a venue for the transfer of a message through a medium, whether that message is a plea for fire safety or the statement of a political position. But what about more abstract political advertisements that simply show the logo of a candidate and a few simple words? Media messages can range from overt statements to vague expressions of cultural values.

Disagreements over the content of media messages certainly exist. Consider the common allegations of political bias against various news organizations. Accusations of hidden messages or agenda-driven content have always been an issue in the media, but as the presence of media grows, the debate concerning media messages increases. This dialogue is an important one; after all, mass media have long been used to persuade. Many modern persuasive techniques stem from the use of media as a propaganda tool. The role of propaganda and persuasion in the mass media is a good place to start when considering various types of media effects.

Propaganda and Persuasion

Encyclopedia Britannica defines propaganda simply as the “manipulation of information to influence public opinion.”[94] This definition works well for this discussion because the study and use of propaganda has had an enormous influence on the role of persuasion in modern mass media. In his book The Creation of the Media, Paul Starr argues that the United States, as a liberal democracy, has favored employing an independent press as a public guardian, thus putting the media in an inherently political position. The United States—in contrast to other nations where media are held in check—has encouraged an independent commercial press and thus given the powers of propaganda and persuasion to the public.[95]

Like any type of communication, propaganda is not inherently good or bad. Whether propaganda has a positive or negative effect on society and culture depends on the motivations of those who use it, and the understandings of those who receive it. People promoting movements as wide-ranging as Christianity, the American Revolution, and the communist revolutions of the 20th century have all used propaganda to disseminate their messages.[96] Newspapers and pamphlets that glorified the sacrifices at Lexington and Concord, and trumpeted the victories of George Washington’s army, greatly aided the American Revolution. For example, Benjamin Franklin’s famous illustration of a severed snake with the caption “Join, or Die” serves as an early testament to the power and use of print propaganda.[97]

The penny press made newspapers accessible to a mass audience and became a force for social cohesion during the 1830s. Garth S. Jowett and Victoria O’Donnell, Propaganda and Persuasion (Thousand Oaks, CA: Sage, 2006), 95–96. Magazines adopted a similar format later in the 19th century, and print media’s political and social power rose. In an infamous example of the new power of print media, some newspapers encouraged the Spanish-American War of 1898 by fabricating stories of Spanish atrocities and sabotage.[98] For example, after the USS Maine sunk off the coast of Havana, Cuba, some newspapers blamed the Spanish—even though there was no evidence—fueling the public’s desire for war with Spain.

The present-day, pejorative connotation of propaganda recalls the utilization of mass media by World War I–era governments to motivate the citizenry of many countries to go to war. Some media outlets characterized that war as a global fight between Anglo civilization and Prussian barbarianism. Although some of those fighting the war had little understanding of the political motivations behind it, wartime propaganda convinced them to enlist.[99] World War I legitimized the advertising profession in the minds of government and corporate leaders because its techniques were useful in patriotic propaganda campaigns. Corporations quickly adapted to this development and created an advertising boom in the 1920s by using World War I propaganda techniques to sell products.[100]

In modern society, the persuasive power of the mass media is well known. In the years after 9/11, there were multiple reports of the death of Osama bin Laden; people desperately wanted to believe he was killed. In reality, he was killed in 2011. Governments, corporations, nonprofit organizations, and political campaigns rely on both new and old media to create messages, and to send them to the general public. During and since the 2008 Presidential election, there has been constant scrutiny over Barack Obama’s birthplace and citizenship; the reports are discredited, but the questions resurface. The comparatively unregulated nature of U.S. media has made, for better or worse, a society in which the tools of public persuasion are available to everyone.

Media Effects and Behavior

Although the mass media send messages created specifically for public consumption, they also convey messages that are not properly defined as propaganda or persuasion. Some argue that these messages influence behavior, especially the behavior of young people.[101] Violent, sexual, and compulsive behaviors have been linked to media consumption and, thus, raise important questions about the effects of media on culture.

Violence and the Media

On April 20, 1999, students Eric Harris and Dylan Klebold entered their Denver-area high school, Columbine High School, armed with semiautomatic weapons and explosives. Over the next few hours, the pair killed 12 classmates and one faculty member before committing suicide.[102] The tragedy and its aftermath captured national attention, and in the weeks following the Columbine High School shootings, politicians and pundits worked to assign blame. Their targets ranged from the makers of the first-person shooter video game Doom to the Hollywood studios responsible for The Matrix.[103]

However, in the years since the massacre, research has revealed that the perpetrators were actually attempting a terrorist bombing, rather than a first-person shooter style rampage.[104] But did violent video games so desensitize the two teenagers to violence that they could contemplate such a plan? Did movies that glorify violent solutions create a culture that would encourage people to consider such methods? Because modern culture is so immersed in media, the issue becomes a particularly complex one, and it can be difficult to understand the types of effects that violent media produce.

A number of studies have verified certain connections between violent video games and violent behavior in young people. For example, studies have found that some young people who play violent video games reported angry thoughts and aggressive feelings immediately after playing. Other studies, such as one conducted by Dr. Chris A. Anderson and colleagues, point to correlations between the amount of time spent playing violent video games, and increased incidence of aggression.[105] However, these studies do not prove that video games cause violence. Video game defenders argue that violent people can be drawn to violent games, and they point to lower overall incidence of youth violence in recent years compared to past decades.[106] Other researchers admit that individuals prone to violent acts are indeed drawn to violent media; however, they claim that by keeping these individuals in a movie theater or at home, violent media have actually contributed to a reduction in violent social acts.[107]

Whether violent media actually cause violence remains unknown, but unquestionably these forms of media send an emotional message to which individuals respond. Media messages are not limited to overt statements; they can also use emotions, such as fear, love, happiness, and depression. These emotional reactions partially account for the intense power of media in our culture.

Sex and the Media

In many types of media, sexual content—and its strong emotional message—can be prolific. A recent study by researchers at the University of North Carolina titled “Sexy Media Matter: Exposure to Sexual Content in Music, Movies, Television, and Magazines Predicts Black and White Adolescents’ Sexual Behavior,” found that young people with heavy exposure to sexually themed media, ranging from music to movies, are twice as likely to engage in early sexual behavior as young people with light exposure. Although the study does not prove a conclusive link between sexual behavior and sexually oriented media, researchers concluded that media acted as an influential source of information about sex for these youth groups.[108] Researcher Jane Brown thinks part of the reason children watch sexual content is related to puberty and their desire to learn about sex. While many parents are hesitant to discuss sex with their children, the media can act like a “super peer,” providing information in movies, television, music, and magazines.[109] Reality series, such as Teen Mom and 16 and Pregnant, are prevalent on the popular MTV station.

Cultural Messages and the Media

The media sends messages that reinforce cultural values. These values are perhaps most visible in celebrities and the roles that they adopt. Actors, such as Jake Gyllenhaal and Scarlett Johansson, have come to represent aspects of masculinity and femininity that have been adopted into mainstream culture in the last 10 years. In recent years, baseball player Derek Jeter appeared in television, film, magazines, and advertising campaigns as a model of athleticism and willpower. Singers such as Bono of U2 have represented a sense of freedom and rebellion against mainstream culture.

Although many consider celebrity culture superficial and a poor reflection of a country’s values, not all celebrities are simply entertainers. Civil rights leaders, social reformers, and other famous public figures have come to represent important cultural accomplishments and advancements through their representations in the media. When images of Abraham Lincoln or Lady Gaga appear in the media, they resonate with cultural and historical themes greatly separated from mere fame.

Celebrities can also reinforce cultural stereotypes that marginalize certain groups. Television and magazines from the mid-20th century often portrayed women in a submissive, domestic role, both reflecting and reinforcing the cultural limitations imposed on women at the time. Advertising icons developed during the early 20th century, such as Aunt Jemima and the Cream of Wheat chef, similarly reflected and reinforced a submissive, domestic servant role for African Americans. Other famous stereotypes—such as the Lone Ranger’s Native American sidekick, Tonto, or Mickey Rooney’s Mr. Yunioshi role in Breakfast at Tiffany’s—also reinforced American preconceptions about ethnic predispositions and capabilities.

Whether actual or fictional, celebrities and their assumed roles send a number of different messages about cultural values. They can promote courageous truth telling, hide and prolong social problems, or provide a concrete example of an abstract cultural value.

New Media and Society

New media—the Internet and other digital forms of communication—have had large effects on society. This communication and information revolution has created a great deal of anguish about digital literacy and other issues that inevitably accompany such a social change. In his book on technology and communication, A Better Pencil, Dennis Baron discusses this issue:

“For Plato, only speech, not writing, can produce the kind of back-and-forth—the dialogue—that’s needed to get at the truth … the text, orphaned by its author once it’s on the page, cannot defend itself against misreading…. These are strong arguments, but even in Plato’s day they had been rendered moot by the success of the written word. Although the literacy rate in classical Greece was well below 10 percent, writing had become an important feature of the culture. People had learned to trust and use certain kinds of writing—legal texts, public inscriptions, business documents, personal letters, and even literature—and as they did so, they realized that writing, on closer examination, turned out to be neither more nor less reliable or ambiguous than the spoken word, and it was just as real.”[110]

Baron makes the point that all communication revolutions have created upheavals, and have changed the standards of literacy and communication. This historical perspective gives a positive interpretation to some otherwise ominous developments in communication and culture.

Information

The Internet has made an incredible amount of new information available to the general public. Both this wealth of information, and the ways people process it, are having an enormous effect on culture. New perceptions of information have emerged, as access to it grows. Older-media consumption habits required in-depth processing of information through a particular form of media. For example, consumers read, watched, or viewed a news report in its entirety, typically within the context of a news publication or program. Fiction appeared in book or magazine form.

Today, information is easier to access, thus more likely to traverse several forms of media. An individual may read an article on a news website and then forward part of it to a friend. That person, in turn, describes it to a coworker, without having seen the original context. The ready availability of information through search engines may explain how a clearly satirical Onion article on the Harry Potter phenomenon came to be taken as fact. Increasingly, media outlets cater to this habit of searching for specific bits of information devoid of context. Information that will attract the most attention is often featured at the expense of more important stories. At one point on March 11, 2010, for example, The Washington Post website’s most popular story was “Maintaining a Sex Life.”[111]

Another important development in the media’s approach to information is its increasing subjectivity. Some analysts have used the term cyberbalkanization to describe the way media consumers filter information. Balkanization is an allusion to the political fragmentation of Eastern Europe’s Balkan states following World War I, when the Ottoman Empire disintegrated into a number of ethnic and political fragments. Customized news feeds allow individuals to receive only the kinds of news and information they want, and, thus, block out sources that report unwanted stories or perspectives. Many cultural critics have pointed to this kind of information filtering as the source of increasing political division and resulting loss of civic discourse. When media consumers hear only the information they want to, the common ground of public discourse that stems from general agreement on certain principles inevitably grows smaller.[112]

Literacy

On one hand, the growth of the Internet as the primary information source exposes the public to increased levels of text, thereby increasing overall literacy. Indeed, written text is essential to the Internet: web content is overwhelmingly text-based, and successful participation in Internet culture through the use of blogs, forums, or a personal website requires a degree of textual literacy that is not necessary for engagement in television, music, or movies.

Critics of Internet literacy, however, describe the majority of forum and blog posts as subliterate, and argue that the Internet has replaced the printed newspapers and books that actually raised the standards of literacy. One nuanced look at the Internet’s effect on the way a culture processes and perceives information states that literacy will not simply increase or decrease but will change qualitatively.[113] Perhaps the standards for literacy will shift to an emphasis on simplicity and directness, for example, rather than on elaborate uses of language.

News

Certainly, the Internet has affected the way that cultures consume news. The public expects to receive information quickly, and news outlets respond rapidly to breaking stories. On Monday, June 21, 2010, for example, a spokesperson for Rolling Stone magazine first released quotes from a story featuring General Stanley McChrystal publicly criticizing members of the Obama administration on matters of foreign policy. By that evening, the story had become national news despite the fact Rolling Stone didn’t even post it to its website until Tuesday morning—some time after several news outlets had already posted the entire story on their own sites. Later that same day, McChrystal issued a public apology, and on Wednesday, flew to Washington where President Barack Obama fired him. The printed Rolling Stone issue featuring the article hit newsstands Friday, two days after McChrystal had been replaced.[114]

Convergence Culture

As we have seen, the term convergence can hold several different meanings. In Convergence Culture: Where Old and New Media Collide, Henry Jenkins offers a useful definition of convergence as it applies to new media:

“By convergence, I mean the flow of content across multiple media platforms, the cooperation between multiple media industries, and the migratory behavior of media audiences who will go almost anywhere in search of the kinds of entertainment experiences they want.”[115]

A self-produced video on the YouTube website that gains enormous popularity, and, thus, receives the attention of a news outlet is a good example of this migration of both content and audiences. Consider this flow: the video appears and gains notoriety, so a news outlet broadcasts a story about the video, which in turn, increases its popularity on YouTube. This migration works in a number of ways. Humorous or poignant excerpts from television or radio broadcasts are often posted on social media sites and blogs, where they gain popularity, and are seen by more people than had seen the original broadcast.

Thanks to new media, consumers now view all types of media as participatory. For example, the massively popular talent show American Idol combines an older-media format—television—with modern media consumption patterns by allowing the home audience to vote for a favorite contestant. However, American Idol segments regularly appear on YouTube and other websites, where people who may never have seen the show comment on and dissect them. Phone companies report a regular increase in phone traffic following the show, presumably caused by viewers calling in to cast their votes, or simply to discuss the program with friends and family. As a result, more people are exposed to the themes, principles, and culture of American Idol than the number of people who actually watch the show.[116]

New media have encouraged greater personal participation in media as a whole. Although the long-term cultural consequences of this shift cannot yet be assessed, the development is undeniably a novel one. As audiences become more adept at navigating media, this trend will undoubtedly increase.

Media Effects Theories

Early media studies focused on the use of mass media in propaganda and persuasion. However, journalists and researchers soon looked to behavioral sciences to help figure out the possible effect of mass media and communications on society. Scholars have developed many different approaches and theories to figure this out. Other scholars challenge whether research can ever untangle the relationship of media and effects. You can refer to these theories as you consider for yourself the media’s effect on individuals and culture.

In one of the earliest formulations of media effects, widespread fear that mass-media messages could outweigh other stabilizing cultural influences, such as family and community, led to what is known as the direct effects model of media studies. This model, prevalent in the 1920s and 1930s, assumed that audiences passively accepted media messages, and would exhibit predictable reactions in response to those messages. For example, following the radio broadcast of War of the Worlds in 1938 (which was a fictional news report of an alien invasion), some people panicked and believed the story to be true.

Challenges to the Direct Effects Theory

The results of the People’s Choice Study challenged this model. Conducted in 1940, the study attempted to gauge the effects of political campaigns on voter choice. Researchers found that voters who consumed the most media had generally already decided for which candidate to vote, while undecided voters generally turned to family and community members to help them decide. The study thus discredited the direct effects model, and influenced a host of other media theories.[117] These theories do not necessarily give an all-encompassing picture of media effects, but rather work to illuminate a particular aspect of media influence.

Agenda-Setting Theory

In contrast to the extreme views of the direct effects model, the agenda-setting theory of media stated that mass media determine the issues that concern the public, rather than the public’s views. Under this theory, the issues that receive the most attention from media become the issues that the public discusses, debates, and demands action on. This means that the media are determining what issues and stories the public thinks about. Therefore, when the media fail to address a particular issue, it becomes marginalized in the minds of the public.[118]

When critics claim that a particular media outlet has an agenda, they are drawing on this theory. Agendas can range from a perceived liberal bias in the news media to the propagation of cutthroat capitalist ethics in films. For example, the agenda-setting theory explains such phenomena as the rise of public opinion against smoking. Before the mass media began taking an antismoking stance, smoking was considered a personal health issue. By promoting antismoking sentiments through advertisements, public relations campaigns, and a variety of media outlets, the mass media moved smoking into the public arena, making it a public health issue rather than a personal health issue.[119] More recently, coverage of natural disasters has been prominent in the news. However, as news coverage wanes, so does the general public’s interest.

Media scholars who specialize in agenda-setting research study the salience, or relative importance, of an issue, and then attempt to understand what causes it to be important. The relative salience of an issue determines its place within the public agenda, which, in turn, influences public policy creation. Agenda-setting research traces public policy from its roots as an agenda through its promotion in the mass media, and finally to its final form as a law or policy.[120]

Uses and Gratifications Theory

Practitioners of the uses and gratifications theory study the ways the public consumes media. This theory states that consumers use the media to satisfy specific needs or desires. For example, you may enjoy watching a show like Dancing With the Stars, while simultaneously tweeting about it on Twitter with your friends. Many people use the Internet to seek out entertainment, to find information, to communicate with like-minded individuals, or to pursue self-expression. Each of these uses gratifies a particular need, and the needs determine the way in which media are used. By examining factors of different groups’ media choices, researchers can determine the motivations behind media use.[121]

A typical uses and gratifications study explores the motives for media consumption and the consequences associated with use of that media. By studying how and why people watch Dancing With the Stars, while using Twitter, scholars suggest people are using the Internet as way to be entertained, and to connect with friends. Researchers have identified a number of common motives for media consumption. These include relaxation, social interaction, entertainment, arousal, escape, and a host of interpersonal and social needs. By examining the motives behind the consumption of a particular form of media, researchers can better understand both the reasons for that medium’s popularity, and the roles that the medium fills in society. A study of the motives behind a given user’s interaction with Facebook, for example, could explain the role Facebook takes in society, and the reasons for its appeal.

Uses and gratifications theories of media are often applied to contemporary media issues. The analysis of the relationship between media and violence that you read about in preceding sections exemplifies this. Researchers employed the uses and gratifications theory in this case to reveal a nuanced set of circumstances surrounding violent media consumption, as individuals with aggressive tendencies were drawn to violent media.[122]

Symbolic Interactionism

Another commonly used media theory, symbolic interactionism, states that the self is derived from, and develops, through human interaction. This means the way you act toward someone or something is based on the meaning you have for a person or thing. To effectively communicate, people use symbols with shared cultural meanings. Symbols can be constructed from just about anything, including material goods, education, or even the way people talk. Consequently, these symbols are instrumental in the development of the self.

This theory helps media researchers better understand the field because of the important role the media plays in creating and propagating shared symbols. Because of the media’s power, it can construct symbols on its own. By using symbolic interactionist theory, researchers can look at the ways media affects a society’s shared symbols and, in turn, the influence of those symbols on the individual.[123]

One of the ways the media creates and uses cultural symbols to affect an individual’s sense of self is advertising. Advertisers work to give certain products a shared cultural meaning to make them desirable. For example, when you see someone driving a BMW, what do you think about that person? You may assume the person is successful or powerful because of the car he or she is driving. Ownership of luxury automobiles signifies membership in a certain socioeconomic class. Equally, technology company Apple has used advertising and public relations to attempt to become a symbol of innovation and nonconformity. Use of an Apple product, therefore, may have a symbolic meaning and may send a particular message about the product’s owner.

Media also propagate other noncommercial symbols. National and state flags, religious images, and celebrities gain shared symbolic meanings through their representation in the media.

Spiral of Silence

The spiral of silence theory, which states that those who hold a minority opinion silence themselves to prevent social isolation, explains the role of mass media in the formation and maintenance of dominant opinions. As minority opinions are silenced, the illusion of consensus grows, and so does social pressure to adopt the dominant position. This creates a self-propagating loop in which minority voices are reduced to a minimum, and perceived popular opinion sides wholly with the majority opinion. For example, prior to and during World War II, many Germans opposed Adolf Hitler and his policies; however, they kept their opposition silent out of fear of isolation and stigma.

Because the media is one of the most important gauges of public opinion, this theory is often used to explain the interaction between media and public opinion. According to the spiral of silence theory, if the media propagate a particular opinion, then that opinion will effectively silence opposing opinions through an illusion of consensus. This theory relates especially to public polling and its use in the media.[124]

Media Logic

The media logic theory states that common media formats and styles serve as a means of perceiving the world. Today, the deep rooting of media in the cultural consciousness means that media consumers need engage for only a few moments with a particular television program to understand that it is a news show, a comedy, or a reality show. The pervasiveness of these formats means that our culture uses the style and content of these shows as ways to interpret reality. For example, think about a TV news program that frequently shows heated debates between opposing sides on public policy issues. This style of debate has become a template for handling disagreement to those who consistently watch this type of program.

Media logic affects institutions as well as individuals. The modern televangelist has evolved from the adoption of television-style promotion by religious figures, while the utilization of television in political campaigns has led candidates to consider their physical image as an important part of a campaign.[125]

Cultivation Analysis

The cultivation analysis theory states that heavy exposure to media causes individuals to develop—or cultivate—an illusory perception of reality based on the most repetitive and consistent messages of a particular medium. This theory most commonly applies to analyses of television because of that medium’s uniquely pervasive nature. Under this theory, someone who watches a great deal of television may form a picture of reality that does not correspond to actual life. Televised violent acts, whether those reported on news programs or portrayed on television dramas, for example, greatly outnumber violent acts that most people encounter in their daily lives. Thus, an individual who watches a great deal of television may come to view the world as more violent and dangerous than it actually is.

Cultivation analysis projects involve a number of different areas for research, such as the differences in perception between heavy and light users of media. To apply this theory, the media content that an individual normally watches must be analyzed for various types of messages. Then, researchers must consider the given media consumer’s cultural background of individuals to correctly determine other factors that are involved in his or her perception of reality. For example, the socially stabilizing influences of family and peer groups influence children’s television viewing, and the way they process media messages. If an individual’s family or social life plays a major part in her life, the social messages that she receives from these groups may compete with the messages she receives from television.

Media Studies Controversies

Important debates over media theory have questioned the foundations and hence, the results of media research. Within academia, theories and research can represent an individual’s life work and livelihood. As a result, issues of tenure and position, rather than issues of truth and objectivity, can sometimes fuel discussion over theories and research.

Problems with Methodology and Theory

Although the use of advanced methodologies can resolve many of the questions raised about various theories, the fact remains that the use of these theories in public debate generally follows a broader understanding. For example, if a hypothetical study found that convicted violent offenders had aggressive feelings after playing the video game Mortal Kombat, many would take this as proof that video games cause violent acts without considering other possible explanations. Often, the nuances of these studies are lost when they enter the public arena.

Active versus Passive Audience

A significant division among media studies theorists is the belief that audiences are passive or active. A passive audience, in the most extreme statement of this position, passively accepts the messages that media send it. An active audience, on the other hand, is fully aware of media messages, and makes informed decisions about how to process and interact with media. Newer trends in media studies have attempted to develop a more complex view of media audiences than the active versus passive debate affords, but in the public sphere, this opposition frames many of the debates about media influence.[126]

Arguments against Agenda-Setting Theory

A number of criticisms have dogged agenda-setting theory. Chief among these is that agenda-setting studies are unable to prove cause and effect; essentially, no one has truly shown that the media agenda sets the public agenda, and not the other way around. An agenda-setting study could connect the prevalence of a topic in the media with later changes in public policy, and may conclude that the media set this agenda. However, policy makers and lobbyists often conduct public relations efforts to encourage the creation of certain policies. In addition, public concern over issues generates media coverage as well, making it difficult to tell if the media are responding to public desire for coverage of an issue, or if they are pushing an issue on their own agenda.[127]

Arguments against Uses and Gratifications Theory

The general presuppositions of the uses and gratifications theory have drawn criticism. By assuming that media fulfill a functional purpose in an individual’s life, the uses and gratifications theory implicitly justifies and reaffirms the functional place of media in the public sphere; critics say that people do not always use media to fulfill a function. They ask whether unconscious motivations or social rituals might be at play. Furthermore, because it focuses on personal, psychological aspects of media, the theory cannot question whether media are artificially imposed on an individual. Studies involving the uses and gratifications theory are often sound methodologically, but the overall assumptions of the studies are left unquestioned.[128]

Arguments against Spiral of Silence Theory

Although many regard the spiral of silence theory as useful when applying its broadest principles, it is weak when dealing with specifics. For example, the phenomenon of the spiral of silence is most visible in individuals who are fearful of social isolation. Those who are less fearful are less likely to be silent if public opinion turns against them. Nonconformists contradict the claims of the spiral of silence theory.

Critics have also pointed out that the spiral of silence theory relies heavily on the values of various cultural groups. A public opinion trend in favor of gun control may not silence the consensus within National Rifle Association meetings. Every individual is a part of a larger social group with specific values. Although these values may differ from widespread public opinion, individuals need not fear social isolation within their particular social group.[129]

Arguments against Cultivation Analysis Theory

Critics have faulted cultivation analysis theory for relying too heavily on a broad definition of violence. Detractors argue that because violence means different things to different subgroups and individuals, any claim that a clear message of violence could be understood in the same way by an entire culture is false. This critique would necessarily extend to other studies involving cultivation analysis. Different people understand media messages in varying ways, so broad claims can be problematic. Cultivation analysis is still an important part of media studies, but critics have questioned its unqualified validity as a theory.[130]

Politics and Media Studies

Media theories and studies afford a variety of perspectives. When proponents of a particular view employ those theories and studies, however, they are often oversimplified and can result in contradictory claims. In fact, when politicians and others employ media studies to validate a political perspective, this is a common result.

Media Bias

A good example of the ways that media can bolster political opinion is through coverage, which leads to the debate over media bias. One 1985 study found that journalists were more likely to hold liberal views than were members of the public. Over the years, many have cited this study to support the opinion that the media holds a liberal bias. However, another study found that between the years of 1948 and 1990, 78 percent of newspaper presidential endorsements were for Republicans.[131]

Media favoritism again became a source of contention during the 2008 presidential race. A random sampling of campaign coverage in the run-up to the election found that 82 percent of stories featured Barack Obama, while only 52 percent discussed John McCain.[132] Allegations that the media favored Obama seemed to bolster the idea of a liberal bias. But other studies belied this belief. Research conducted during the election showed that favorable media coverage of Obama occurred only after his poll numbers rose, hinting that the media were reacting to public opinion, rather than attempting to influence it.[133]

Media Decency

Decency standards in media have long been an issue, and they continue to change in ways that are not necessarily predictable. Once banned in the United States for obscenity, James Joyce’s Ulysses is now considered a classic of modern literature, while many schools have banned children’s classic Adventures of Huckleberry Finn for its use of ethnic slurs. Because of the regulatory powers that government possesses over the media, decency is also an inherently political issue. As media studies have progressed, they have increasingly appeared in the debates over decency standards. Although media studies cannot prove a word or image is indecent, they can help discern the impact of that word or image and, thus, greatly influence the debate.

Organizations or figures with stated goals often use media studies to support those aims. For example, the Parents Television Council reported on a study that compared the ratio of comments about nonmarital sex to comments about marital sex during the hours of 8 p.m. to 9 p.m. The study employed content analysis to come up with specific figures; however, the Parents Television Council then used those findings to make broad statements, such as “the institution of marriage is regularly mocked and denigrated.” [134] Because content analysis does not analyze the effect on audiences, or analyze how material is presented, it does not offer a scientific way to judge whether a comment is mocking and denigrating marriage, so such interpretations are arguably unsupported by the research. For example, researchers performing a content analysis by documenting the amount of sex or violence on television are not analyzing how this content is interpreted by the audience. They are simply noting the number of instances. Equally, partisan groups can use a number of different linguistic turns to make media studies fit their agenda.

Media studies involving violence, pornography, and profanity are inherently politically charged, and politicians have also conducted their own media studies. In 2001, for example, a Senate bill aimed at Internet decency that had little support in Congress came to the floor. One of the sponsoring senators attempted to increase interest by bringing to the Senate floor a file full of some of the most egregious pornographic images he could find on the Internet. The bill passed 84 to 16.[135]

Media Consolidation

Although media consolidation will be discussed in more depth in later chapters, the topic’s intersection with media studies results deserves a place here. Media consolidation occurs when large media companies buy up smaller media outlets to create giant conglomerates. Some scholars predict that a handful of companies will soon control most of the world’s media. Although government regulation has historically stymied this trend in the United States by prohibiting ownership of a large number of media outlets, the Federal Communications Commission (FCC) has loosened many of the restrictions on large media companies in recent years.

Media studies often prove vital to decisions regarding media consolidation. These studies measure the impact that consolidation has had on the media’s public role, and on the content of local media outlets to compare it with that of conglomerate-owned outlets. The findings often vary depending on the group conducting the test. Sometimes tests are ignored entirely.

In 2003, the FCC loosened restrictions on owning multiple media outlets in the same city, citing studies that the agency had developed to weigh the influence of particular media outlets such as newspapers and television stations.[136] In 2006, however, reports surfaced that a key study had been discarded during the 2003 decision. The study showed an increase in time allocated for news when TV stations were owned locally, thus raising questions about whether media consolidation was a good thing for local news.[137]

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