Please enable JavaScript.
Coggle requires JavaScript to display documents.
Unit 1 Digital Media Sectors and Audiences - Coggle Diagram
Unit 1
Digital Media Sectors and Audiences
A
Understand digital media sectors, products and platforms
Technologies
Analogue
Digital
A.1 Media sectors
Sectors
moving image
film/video
tv
audio
publishing
websites
games
Synergy
cross-media links
advantages of synergy
product connections
A.2 Media products and processes
types of digital media product within a sector
film/video
films
trailers
documentaries
animations
corporate videos
training videos
TV
drama
adverts
light entertainment shows
music videos
news programmes
factual programmes
audio
adverts
drama
news and current affairs
light entertainment
podcasts
movie soundtrack
publishing
online magazines
newspaper websites
posters
flyers
adverts
digital games
entertainment
educational
fitness
simulation
development processes
pre-production
planning
researching and preparing
production
shooting
constructing the elements of the product
post-production
bringing all the elements together to complete the project
distribution
making the product available to audiences through advertising / promotion
A.3 Digital media platforms and devices
Distribution platforms
TV broadcast
pay-per-view
theatrical / cinema release
digital download
radio broadcast
DVD / Bluray
CD
Streaming online
Websites
Devices
mobile phones
PCs
laptops
MP3 players
MP4 players
Games consoles
tablets
radio
A.4 Multimedia technology and consumption
technological convergence using different devices
the impact of digital technology on (and advantages / disadvantages)
immediacy
increased speed
instant messaging
on-demand media
access
no longer exclusive
inexpensive
use-friendly
allows amateur / guerilla media-making
democracy
WeMedia
convenience
free or cheap
global
national
local
user-friendly
portability
movement and flexibility
working patterns
always connected
connectivity
global village
digital communities
social networks
virtual reality
interactivity (between producer / product and consumer)
level of control or activity
game-play
user-generated content
videos
images
recordings
digital editing
mashups
hyperlinks / web addresses
forums and messageboards
uploads & downloads
texting / emailing / chat to participate
'red button' and TV menus
personalisation (media made personal to the consumer)
logging in / signing in
usernames / avatars
digital TV menus
EPG (electronic programme guides)
adapting interfaces
font features
music playlists
B
Understand audiences for digital media products
B.1 Types of audience
individual
engages with media product alone
reader
gamer
consumer
web surfer
listener
viewer
social networking
solo enjoyment
privacy
convenience
individuality
accessibility
control
group
engages with a digital media product with others
cinema audience
TV audience
online gamers
radio listeners
DVD / Bluray viewers
social networking
collective enjoyment
social interaction
competition
belonging
sharing
primary audiences
target audiences
secondary audiences
why they occur
substantial number of viewers / consumers outside the primary target audience which can affect consumption statistics if not accounted for
passive viewing
examples of passive media
audience / viewer / consumer that does not interact physically with the product or its content
does not generate content or influence the production
passive audience theory
hypodermic model
advantages
disadvantages
active viewing
examples of active media
audience / viewer / consumer that physically interacts with the product.
Audience interactions contribute and become part of the production.
The audience has an element of control over how they interact with the product
active audience theory
uses / gratifications model
advantages
disadvantages
consumer-generated content
cross-media
across sectors
advantages for producers
B.2 Audience and producer control
Regulatory bodies
roles and responsibilities of:
BBFC
(British Board of Film Classification)
ASA
(Advertising Standards Authority)
PEGI
(Pan European Game Information)
PCC
(Press Complaints Commission)
OFCOM
(Office of Communications)
B.3 Understanding audiences through research
audience statistics
circulation
box office figures
ratings
sales
types of audience research
primary
information obtained first- hand from the audience
secondary
‘second-hand’ research by using existing primary research information
qualitative
measuring individual opinions, attitudes, behaviour and the psychology behind the choices people make
quantitative
to measure responses in quantifiable terms, (how much, how many), using numerical data)
audience research methods
primary research
questionnaires
interviews
in person
telephone
virtual via Teams / Skype etc
surveys
focus groups
vox pops
product analysis
secondary research
internet research
library research
archive research
reading
key research terms
objective
subjective
valid
reliable
B.4 Audience profiling
profiles
reader
gamer
consumer
web surfer
listener
viewer
purpose of profiling
using research data to create a profile
use of demographics
gender
age
socio-economic background
race
occupation
income
education
patterns of consumer behaviour
genre choices
products consumed
impact of technology
data
circulation
box office figures
ratings
sales
website hits
subscribers
presentation of audience research information
data interpretation
charts
pie charts
graphs
tables
reviews
C
Explore how audiences engage with digital media products
C.1 Communication of meaning
Codes
Denotation
describing
identifying
Connotation
associations that the image or text implies or suggests
usually cultural assumptions
as signs
colour
contrast
brightness
black and white
filters
saturation
de-saturation
shades
tones
framing and angle
close up
medium close up
extreme close up
medium shot
medium long shot
long shot
overhead
over the shoulder
point of view
straight-on
low angle
high-angle
movement
pan
tilt
tracking
speed
slow motion
speeded up
zoom in / out
handheld
static
crane
composition or navigation
layout
rule of thirds
asymmetrical composition
balance
juxtaposition
integration of text with image
fonts
where is viewer/reader attention being directed?
mise en scène
costume
hair
make-up
props
setting
cast
Lighting
under
overhead
side
fill
high-key
low-key
shadows
silhouette
functional
Editing
pace
rhythm
continuity
cuts
fades
transitions
Sound
incidental music
bridges
aural motifs
jingles
voiceovers
sound effects
dialogue
levels
perspective
to create meaning
to create mood, atmosphere, meaning, intimacy, excitement, dynamism, style, aesthetics, subjectivity, memorable aspects, genre
to direct or alert the viewer/listener;
draw attention to person, character or detail;
communicate messages and values;
change distance or perspective
to indicate or signify a specific era, climate, theme or change of timeframe, status, isolation, character, feelings, messages and values, genre, character traits
to reflect, enhance or flatter the subject;
mimic or reinforce action;
manipulate events or space, change timeframe; move narrative forward;
improve ease of consumption.
Key concepts to communication meaning and engage audiences
Representation
Generic elements
narrative
storyline
plot
story
characterisation
identification
themes
structures
linear
non-linear
openings
endings
narrative devices
use of narrator
subjective
objective
mode of address
continuity
narrative style across products