Homework questions

1. How does the followin" rel="nofollow">ing quote set the stage for Pozner’s in" rel="nofollow">introduction: “Like the in" rel="nofollow">internet, reality television was once seen as an in" rel="nofollow">innovative media sphere where noncorporate voices could potentially predomin" rel="nofollow">inate- in" rel="nofollow">in this case, because the audience supposedly can view real people filmed in" rel="nofollow">in the midst of an unscripted situation rather than a drama scripted by writers and performed by professional actors. However… reality TV is no less ideological than other forms of media storytellin" rel="nofollow">ing in" rel="nofollow">in the way it constructs our ideas about market forces, in" rel="nofollow">individualism, and economic in" rel="nofollow">inequality” (Din" rel="nofollow">ines & Humez, 3). 2. Please respond to the followin" rel="nofollow">ing, “Radio, television, film, popular music, the Internet, and social networkin" rel="nofollow">ing, and other forms and products of media culture provide materials out of which we forge our very identities, in" rel="nofollow">includin" rel="nofollow">ing our sense selfhood; our notion of what it means to be male or female; our conceptions of class, ethnicity and race, nationality, sexuality; and division of the world in" rel="nofollow">into categories of “us” and “them” (Kellner, 7). 3. Describe two contributions of a cultural studies perspective to media critique and literacy from Kellner. 4. Accordin" rel="nofollow">ing to Lipsitz, how has the television contributed to the makin" rel="nofollow">ing of collective and in" rel="nofollow">individual memory? 5. How many companies domin" rel="nofollow">inate the motion picture in" rel="nofollow">industry in" rel="nofollow">in the U.S.? How about the magazin" rel="nofollow">ine in" rel="nofollow">industry? Live music? When thin" rel="nofollow">inkin" rel="nofollow">ing about major media companies, why does it become relevant that the ownership is significantly concentrated? How do the news outlets factor in" rel="nofollow">into this? You should rely on Croteau, Hoynes, and Milan in" rel="nofollow">in your answer. This means citin" rel="nofollow">ing specific pieces of the chapter. 6. Usin" rel="nofollow">ing the Lull, provide a succin" rel="nofollow">inct defin" rel="nofollow">inition of “hegemony” and why the theoretical framework of Classical Marxist theory is relevant to the critical study of media. 7. Defin" rel="nofollow">ine the followin" rel="nofollow">ing terms: • Deconstruct: • Encodin" rel="nofollow">ing ideologies: • Polysemic: • Counterhegemonic: 8. Elaborate on the example of “Homer Phobia” in" rel="nofollow">in relation to encodin" rel="nofollow">ing. Why is this example relevant to how ideologies impact media production and consumption? 9. Lookin" rel="nofollow">ing at Drew’s discussion of Survivor, how does the show rely on racism to pretend it is “postracial”? 10. Accordin" rel="nofollow">ing to Drew, what are some examples of the representations of communities of color in" rel="nofollow">in popular culture? How do these representations make whiteness “in" rel="nofollow">invisible”? 11. Do you agree or disagree with Cuklanz and Moorti’s examin" rel="nofollow">ination of SVU? Why or why not? 12. Accordin" rel="nofollow">ing to David, how have female hip-hop artists addressed major femin" rel="nofollow">inist issues? 13. Accordin" rel="nofollow">ing to Warner, what is cultural jammin" rel="nofollow">ing and how does the article weave in" rel="nofollow">in Jon Stewart to demonstrate this strategy of social protest and commentary? 14. In what ways does Padva argue The Simpsons rely on homophobia and sissy-phobia? 15. What do you thin" rel="nofollow">ink of Han’s discussion of how Asian men and their sexualities are represented in" rel="nofollow">in the media?