1. Part II

2. Tradition of Mass Communications as linear Sender Message Receiver Alternative View-Linked but Distinctive Moments ProductionCirculation Distribution/ Consumption Reproduction

3. Encoding (creation) & Decoding (receiving) Media presented through the vehicle of language Messages must satisfy the discursive rules of language & societal practices Constraint of signs & referents within coding

4. Jenkins makes reference to Star Wars franchise to illustrate discussion around digital cinema, media convergence and participatory culture. Star Wars franchise notorious for the fan culture attached to it. Era of inexpensive digital technology and new tools of dissemination have allowed for grassroots culture surrounding the franchise. © Lucasfilm 2011

5. Media Convergence: Horizontal Integration vs. Vertical Integration Media conglomerates Increasing stakes in multiple media Seek media that moves fluidly across channel Technological integration of content delivery systems Enables more consumers to access new manifestations of popular narrative

6. Participatory Culture: Media consumption patterns altered by new media techs. That allow for participation in: Archiving Annotation Appropriation Transformation Recirculation of media content Media Consumers want to become Media Producers & Media Producers want to maintain hegemonic position

7. Fan fiction repairs some of the damage caused by privatization of culture. Seek a world where everyone participates in the creation of culture. A pioneer of this genre was Hardware Wars, one of the many spoofs of Star Wars, which can be seen here: part one, part two part onepart two

8. ARTEFACT: TWILIGHT FRANCHISE © 20 th Century Fox http://www.ramascreen.com/is-this-woman-the- biggest-twilight-fan-ever http://twi-star.blogspot.com/2009/12/order- your-team-edward-or-jacob-bottle.html

9. Miller’s essay concludes a book of essays on American reception studies Critique of effects-model reception studies – US Suggests a move towards studies rooted in Political economy & Ethnography Emphasis on historical context of text Proposes less audience-focused studies

10. Domestic Effects Model: Dominant in USA Believes pop culture can either direct or pervert the “citizen consumer” Hypodermic needle model ARTEFACT: 1992 LA Riots & the Role of Rap Music (NWA’s Fuck the Police (1988); Public Enemy’s Fight the Power (1989)) http://option-magazine.com/2011/01/27/rap-rebellion-the-1992- l-a-riots http://option-magazine.com/2011/01/27/rap-rebellion-the-1992- l-a-riots

11. Global Effects Model: Mostly in non-US discourse Knowledge of customer & patriotic feeling Popular culture makes citizen a knowledgeable & loyal national subject or an ignorant unaware of local tradition and history. ARTEFACT: The Greatest Briton-BBC; The Greatest Canadian-CBC

13. Do you believe that audiences are fiction or do you think Hartley is simply trying to differentiate an audience from anything and everything to do with culture? Is it even possible for a network to create “an audience” based on previous studies on television followers or just common sense, or will the efforts succumb as seen in the case of the producers working for the EastEnders? Is someone who consumes violent texts more likely to behave in violent, anti-social ways, or is someone who is violent and anti- social more likely to consume violent texts? Elaborate in terms of the differing methods of study (DEM, Active Audience theory, etc.)