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Everything you need to know about multimedia presentations

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Anete Ezera May 25, 2023

Crafting a well-executed multimedia presentation can be the determining factor between success and failure when delivering presentations. The impact of a multimedia presentation is undeniable, but what exactly does it entail, and what are the essential considerations to keep in mind when creating one?

In this article, we’ll explore the key components involved in creating compelling multimedia presentations and delve into the strategies that can help you assemble these elements to craft the perfect presentation. We’ll discuss the importance of content structure, visual design, and engaging storytelling techniques that capture your audience’s attention and leave a lasting impact. Additionally, we’ll provide insights on leveraging Prezi’s features to enhance your multimedia presentations, making them more dynamic and interactive.

What is a multimedia presentation?

A multimedia presentation is a computer-based presentation that uses various forms of media to effectively communicate and engage an audience. In today’s fast-paced world, multimedia presentations have emerged as one of the most powerful and impactful means of communication. Complex ideas and information can be challenging to convey using only traditional tools. However, by harnessing the potential of visually engaging images, high-quality audio clips, and captivating video content, you can deliver a wealth of information that isn’t only clear, but also interesting, easy to understand, contextual, detailed, and engaging.

To facilitate the creation of multimedia presentations, Prezi offers a user-friendly and intuitive platform that empowers presenters to transform their ideas into attention-grabbing visual stories that move. One of the standout features of Prezi is its dynamic zooming capability. With this feature, presenters can seamlessly navigate between various levels of content, zooming in to emphasize critical details and zooming out to provide a comprehensive overview. This interactive zooming functionality not only adds visual interest to your presentation but also enables you to guide your audience’s focus and create a fluid and engaging storytelling experience. Furthermore, the presentation canvas allows for more creativity and freedom as you don’t need to be limited by the traditional slide-based presentation format.

A man showcasing a multimedia presentation

The psychology of multimedia

Multimedia presentations are not just about what you say but also how you make your audience feel and remember. Let’s discover how colors, visuals, and sounds can influence your audience’s perception and memory retention.

Color psychology

Colors evoke emotions and convey messages. For instance, red can signal urgency and passion, while blue suggests trust and calmness. Choose your color palette wisely to align with the emotions you want to portray to your audience.

Visual impact

Visuals are your secret weapon. The brain processes visual information 60,000 times faster than text. Use attention-grabbing images and graphics that resonate with your message. For example, if you’re presenting about eco-friendly initiatives, images of lush forests and clear skies can speak volumes.

Soundscapes

Sound can set the mood and reinforce key points. Think about the background music in movies – it enhances the overall emotional impact of a scene. In your presentation, use background music or sound effects thoughtfully to complement your content.

Memory retention

Did you know that people tend to remember only about 10% of what they hear after three days? However, if you pair that information with relevant visuals, retention jumps to 65%. Craft your multimedia presentation with this in mind; use visuals to reinforce your message for better recall.

Incorporate these psychological cues effectively, and your multimedia presentation will not only capture attention but also leave a lasting imprint on your audience’s memory.

Young woman teaching online from her living room. Young woman wearing headphones while having a online training at home.

Which elements can be included in a multimedia presentation?

Multimedia presentations have come a long way from the relatively simplistic options of the past. Now a whole range of different elements can be used to ensure your stand-alone presentation wows your intended audience. Some of the examples of what you can add to your multimedia presentations include:

Slides: Slides are the backbone of most multimedia presentations. They consist of visual elements like text, images, graphs, and charts. Slides help you organize information and guide your audience through your presentation. For example, in a business pitch, slides can showcase product images, market data, and key points.
Videos: Videos add motion and life to your presentation. You can use them to demonstrate processes, showcase testimonials, or provide visual explanations. In an educational setting, a biology lecture might include videos of animal behaviors or experiments.
Audio clips: Audio clips can range from background music to voiceovers. They enhance the auditory experience of your presentation. In a travel presentation, you might include the sounds of waves crashing on a beach to create a more immersive feel.
Animations: Animations breathe life into static content. They can illustrate processes, emphasize key points, or add a touch of humor. In a marketing presentation, animations can show how a product evolves or highlight its unique features.
Music: Music sets the mood and tone of your presentation. It can create excitement, relaxation, or suspense. In a fashion show presentation, music may compliment the models’ walk down the runway, enhancing the overall experience.
Images: Images are powerful visual aids. They can create certain emotions, provide context, and simplify complex ideas. In a history lecture, images of historical events and figures help students visualize the past.
Text: Text is one of the most crucial parts of your content. It provides information, explanations, and key points. In a scientific presentation, text can explain research findings or provide definitions of complex terms.
Podcasts: Podcasts are audio presentations that offer in-depth discussions or storytelling. They are excellent for sharing interviews, discussions, or storytelling. In a business conference, you might use a podcast-style presentation to share insights from industry experts.
Pop-ups: Pop-ups are interactive elements that can surprise and excite your audience. They can include clickable links, additional information, or even mini-quizzes. In an e-learning module, pop-ups can provide learners with instant feedback on their progress.

For any professional who wants to stand out from the crowd with multimedia presentations that truly dazzle and inspire, Prezi’s multimedia platform brings you everything you need.

Choosing the right multimedia for your presentation subject

When creating a multimedia presentation, it’s crucial to select the appropriate multimedia elements that align with your presentation subject. By choosing the right multimedia, you can effectively convey your message, enhance understanding, and captivate your audience. Consider the following factors when selecting multimedia for your presentation:

A man in front of a class presenting a multimedia presentation.

Content relevance: does it fit your message?

Evaluate the relevance of each multimedia element to your presentation subject. Determine how each element contributes to the overall message and supports your key points. Choose multimedia that directly relates to your topic and enhances the understanding and engagement of your audience.

Visual impact: how visually appealing is it?

Visual elements play a significant role in multimedia presentations. Assess the visual impact of different multimedia options such as images, videos, and animations. Opt for high-quality visuals that are visually appealing, clear, and reinforce your message. Balance aesthetics with substance to maintain a professional and engaging presentation.

Audio enhancement: does it complement your content?

Determine if your presentation would benefit from audio elements such as background music, sound effects, or voiceovers. Audio can evoke emotions, set the mood, and reinforce key points. However, use audio sparingly and ensure it complements your content rather than overpowering it.

Data visualization: can it simplify complex data?

If your presentation involves data or statistics, explore options for effective data visualization. Choose charts, graphs, or maps that you can find on Prezi and incorporate those into your presentation. These elements will help you present complex information in a clear and digestible format. Visualizing data will also help your audience grasp the main points quickly and facilitate better comprehension.

Multimedia integration: do all elements work together?

Aim for a cohesive and seamless integration of multimedia elements into your presentation. Ensure that different multimedia components blend well together and create a unified visual and auditory experience. Avoid using too many diverse multimedia elements that may distract or overwhelm your audience.

Accessibility considerations: is it accessible to everyone?

Keep accessibility in mind when selecting multimedia elements. Ensure that any visual or audio content you include is accessible to individuals with disabilities. Provide captions or transcripts for videos and ensure that any audio content is accompanied by text summaries. Consider the needs of all your audience members to ensure an inclusive and engaging presentation.

Technical feasibility: will it work smoothly during your presentation?

Assess the technical feasibility of incorporating various multimedia elements into your presentation. Consider the equipment and software requirements for displaying and playing different multimedia formats. Test the compatibility and functionality of multimedia elements in the presentation environment to avoid any technical glitches during your actual presentation.

By carefully considering these factors, you can choose the right multimedia elements that enhance your presentation’s effectiveness and engage your audience. Remember, the key is to strike a balance between informative content, compelling visuals, and appropriate interactivity to create a memorable and impactful multimedia presentation.

Smiling professional young women giving a good presentation online.

What makes an effective multimedia presentation?

An effective multimedia presentation is like a good book you can’t put down or a catchy new song you hear on the radio that you can’t stop humming to all day long – it has your audience instantly engaged and wanting more.

Gone are the days when we were limited to presentations that only featured text and basic graphics. Nowadays, using a combination of audio, video, and images can help anyone effectively communicate their message to any audience.

Prezi enables users to create attention-grabbing presentations that move their audience. You can create your own presentation from scratch or start out with a template that you can find in Prezi’s template gallery.

8 things to consider when creating a multimedia presentation

Creating a multimedia presentation can be very straightforward. It just requires some basic planning and preparation and the correct tools to implement those plans. Follow these steps when enhancing a presentation with multimedia.

What is your message?

What exactly are you presenting, and what key messages do you wish to communicate to your audience? Take time to thoroughly think through these questions before constructing your multimedia presentation.

Who is your audience?

You must understand who exactly your audience is. After all, there is likely a huge difference between what might work best with 20-something IT specialists or a group of senior management. Are you hoping to sell a product to potential investors? Delivering a quarterly report to your bosses? Or preparing a presentation for a job interview? Be very clear about who your audience is.

Preparation is vital, and with it comes research. You can’t wait to get started creating your new multimedia presentation. And the temptation is often to begin without first investigating fantastic examples of other people’s work for ideas or not taking advantage of Prezi’s awesome customizable presentations that are freely available to you, the user. Simply head over to Prezi’s Gallery and get inspired!

Create your content outline

What content do you wish to include in your presentation? Once you have decided, it’s time to create a content outline for your multimedia presentation. You can begin building the structure of your presentation by splitting your topic into separate ideas that run in a clear, logical sequence. If you want to learn more about how to create an effective presentation structure, watch the following video:

Decide which visualization mediums work best

There are literally dozens of visualization mediums to choose from. The hard part sometimes is deciding which of these works best for you. Options include GIFs, short animation clips, audio clips, TED Talk video clips – the list goes on and on. The great news is that you can easily integrate all of these elements into your Prezi presentation. What’s more, Prezi has an extensive library of different multimedia elements like GIFs, stickers, images, icons, and more that you can pick and choose while creating your presentation.

Utilize templates

You might start entirely from scratch, building the presentation from the bottom up, which is great if you already have a clear idea in your mind. However, if you’re still trying to figure out what you want the end result to look like or want to spend less time on presentation design, explore the numerous tried and tested templates available on Prezi. You’ll discover various templates that are great for multimedia presentations.

It’s time to add your multimedia

Don’t overdo the types of multimedia content you use in your presentation. Why? Because using too many different kinds can feel overwhelming and a little too ‘show offish’. Focus on 2-4 types of content that will work best with your target audience. Try to hit that balance between simplicity and style. If you are using video or animation, use it occasionally.

If you need to present online, take advantage of Prezi Video’s option to share your content next to you on-screen during your presentation. This will engage your audience and keep them hooked throughout your multimedia presentation even online.

Review and analyze your work

Your multimedia presentation is ready. Or is it? Invest some time reviewing your presentation. Is it clearly structured and cohesive? Do the multimedia elements you have added achieve what you wanted them to achieve? Be honest with yourself and trust your intuition. If something doesn’t feel right with your presentation, don’t be afraid to make changes!

Best practices for delivering a multimedia presentation

Delivering a multimedia presentation requires careful planning and execution to effectively engage and captivate your audience. Follow these best practices to ensure that you leave a lasting impression on your audience.

Know your material

Familiarize yourself with the content of your presentation to make sure you can confidently deliver it without relying too heavily on notes. Thoroughly understand the key points, supporting evidence, and transitions between different sections. This will enable you to maintain a natural flow and deliver a confident presentation. Also, consider using Presenter Notes . They serve as a reminder of important talking points and additional information during your presentation. Only visible to you, the presenter, the notes remain hidden from the audience. This allows you to effectively communicate your points without any interruptions.

Practice timing

Time your presentation to ensure it fits within the allocated time frame. Practice transitions between different multimedia elements, such as slides, videos, and interactive features, to maintain a smooth flow. Keep in mind that pacing is crucial, so allocate sufficient time for each part of your presentation while maintaining an engaging pace.

Use visual aids strategically

Visual aids are a powerful tool for conveying information and enhancing understanding. However, it’s essential to use them strategically to support and highlight your message, rather than distract from it. Use visuals sparingly and ensure they’re clear, visually appealing, and easy to understand. Avoid cluttered slides and prioritize concise and impactful visuals that reinforce your key points. If you want to learn more about good presentation design practices when it comes to adding visual content, watch the following video on the topic:

Speak clearly and confidently

Effective communication is key to delivering a memorable presentation. Project your voice to ensure everyone in the audience can hear you clearly. Maintain eye contact with your audience to establish a connection and demonstrate confidence. Speak with clarity and conviction, emphasizing key points and using appropriate pauses for emphasis. A confident and engaging delivery will help your audience connect with your message.

Incorporate storytelling techniques

Storytelling is a powerful way to engage and captivate your audience. Incorporate storytelling techniques to create a narrative structure for your presentation. Begin with a compelling introduction that sets the stage and grabs attention. Use storytelling elements such as anecdotes, examples, and personal experiences to illustrate your points and make the content relatable and memorable. A well-crafted story can evoke emotions and leave a lasting impact on your audience.

Practice with technology

Familiarize yourself with the multimedia tools and technology you will be using during the presentation. In particular, get to know the endless features and capabilities of Prezi, the powerful multimedia presentation tool. Take the time to explore its features and understand how it can enhance your presentation. Familiarize yourself with the different templates, transitions, and interactive elements available. By mastering Prezi, you’ll be able to create attention-grabbing presentations that move.

Adapt to the audience

Tailor your presentation to resonate with your specific audience. Consider their demographics, interests, and background when delivering your content. Use language that is accessible and appropriate for your audience, avoiding jargon or technical terms that may be unfamiliar. Incorporate relevant examples and references that relate to their experiences. By adapting your presentation to their needs and preferences, you can create a stronger connection and enhance their overall engagement.

Engage the audience

Use interactive features to involve your audience and make the presentation more engaging. Incorporate audience polling, where participants can vote or provide feedback on specific questions or topics. Additionally, include dedicated Q&A sessions to encourage active participation and address any queries or concerns. Engaging the audience in this way promotes interaction and makes your presentation more dynamic.

Business people raising hands to ask questions during a presentation. Woman giving a good presentation with people sitting in front raising hands at convention center.

Ask for feedback

You can practice your presentation in front of people to get honest feedback. This way you can make any changes or work on specific areas that may need tweaking before the real thing. After your real presentation, you may even want to seek feedback from your audience to gather insights on what worked well and areas for improvement.

Remember, a well-delivered multimedia presentation is a combination of interesting content, effective visuals, and confident delivery. By following these best practices, you can create an engaging experience for everyone in the room.

How to engage your audience with interactive multimedia presentations

In addition to the essential components and best practices we’ve discussed, incorporating interactive elements can take your multimedia presentations to the next level. By engaging your audience in an interactive experience, you can captivate their attention and create a memorable presentation. Let’s explore some strategies for incorporating interactivity into your multimedia presentations:

Interactive charts

Instead of static images, use interactive charts to convey data and complex information. Allow your audience to explore different data points, toggle between visualizations, and interact with the content. This hands-on approach enhances understanding and engagement.

Virtual Reality (VR) and Augmented Reality (AR)

If applicable, consider incorporating VR or AR elements into your multimedia presentations. These technologies provide immersive experiences that can transport your audience to different environments or allow them to interact with virtual objects. VR and AR can be particularly effective in fields such as architecture, education, and product demonstrations.

Gamification

Introduce gamification elements to make your presentation more interactive and enjoyable. Create quizzes, challenges, or interactive scenarios that require audience participation. Offer rewards or incentives for active engagement, such as badges or prizes.

Collaborative activities

Foster collaboration among your audience by including interactive activities. For example, you can divide your audience into small groups or pairs and provide specific tasks or discussions related to your presentation topic. Encourage participants to share their insights or findings with the larger group afterward.

The class tutor uses storytelling to engage students.

Live demonstrations

If possible, incorporate live demonstrations of software, tools, or processes directly into your presentation. Showcasing practical examples in real-time can enhance understanding and engage the audience through active participation.

Remember, interactivity should align with your presentation goals and content. Incorporate interactive elements strategically to support your message and keep your audience engaged throughout the presentation. Prezi offers various interactive features and templates to help you create dynamic and immersive multimedia presentations.

By embracing interactivity, you can transform your multimedia presentations into memorable experiences that leave a lasting impact on your audience.

Common concerns with multimedia presentations

People often share some common concerns when diving into multimedia presentations. Here are a few of those concerns and simple solutions to tackle them:

Technical glitches

Worry: Fear of technical issues derailing your presentation.
Solution: Always have a backup plan in case technology decides to be temperamental. Test your setup beforehand to avoid unexpected surprises.

Media overload

Worry: The fear of overwhelming your audience with too much media.
Solution: Strike a balance by using multimedia elements strategically. Less can often be more when it comes to engaging your audience effectively.

The evolution of multimedia tools

The world of multimedia presentation tools has seen quite a transformation over the years, making the process more user-friendly and accessible than ever before. Platforms like Prezi are at the forefront of this evolution, continuously updating and improving the presentation creation process. With intuitive interfaces and a wide range of creative options at your fingertips, multimedia tools have truly democratized the art of multimedia presentations. Whether you’re a seasoned professional or a newcomer to the presentation scene, the evolution of multimedia tools has made it easier than ever to craft the perfect presentation.

Multimedia presentation examples

Your audience will immediately lose interest if all you offer them is a traditional slide deck. Instead, take advantage of Prezi’s Gallery and get inspired by dynamic, interactive, and engaging presentations that include various multimedia elements.

Below are a few examples of attention-grabbing and creative multimedia presentations that you can get inspired by or even reuse as templates for your own presentation topic.

Summer Plans presentation

The summer plans presentation inspires and captivates. The template is perfect for delivering a story, sharing an experience, or presenting a plan. It features multiple media elements, such as animations, images, and data visualizations.

Why Leaders Need to Get Out of Their Own Way presentation

This presentation grabs our attention with its visually appealing design and strategic use of visuals. The simple yet engaging layout divides the presentation into four parts, creating a well-defined structure that is easy to follow. You can reuse this presentation as a template for delivering a topic that you need to unpack in a certain order.

Corporate Social Responsibility presentation

This multimedia presentation engages and captivates with animations, images, icons, and more. As a template, it’s perfect for creating and delivering informative presentations, where you need to dive into the details of certain topics.

Earth Day presentation

The Earth Day presentation is a great example of how one can create a timeline presentation with Prezi. It includes various media elements that make this multimedia presentation highly engaging and informative.

Future-proofing your presentations

To make sure your multimedia presentations stay useful and up-to-date in the long run, here are some straightforward tips:

Pick the right formats

Use common file types like PDF, MP4, and JPEG since they’re likely to stay usable in the future.

Keep things fresh

Don’t let your content get old. Update it regularly with new information and visuals to keep it interesting and relevant.

Fit different screens

Make your multimedia presentations so they can work on big screens and small devices like phones or tablets.

Try new tech

Keep an eye on new technologies like virtual reality and interactive features. They can make your presentations more exciting and modern.

Listen to your audience

Pay attention to what your audience likes and dislikes. Their feedback can help you improve your multimedia presentations and keep them interesting.

With these easy steps, you can make sure your multimedia presentations will still be great in the future!

Create attention-grabbing multimedia presentations with Prezi

In conclusion, crafting a well-executed multimedia presentation is crucial for achieving success in delivering presentations. This article has explored the key components involved in creating compelling multimedia presentations and provided insights on how to assemble these elements effectively. By considering the importance of content structure, visual design, and engaging storytelling techniques, presenters can capture their audience’s attention and leave a lasting impact. Furthermore, leveraging Prezi’s features can enhance multimedia presentations, making them more dynamic and interactive. By incorporating these strategies and utilizing the right tools, presenters can elevate their presentations to a new level and increase their chances of achieving their desired outcomes. Ultimately, mastering the art of multimedia presentations opens up opportunities for effective communication and successful presentations in various professional and academic settings.

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Home Blog Design Multimedia Presentation: Insights & Techniques to Maximize Engagement

Multimedia Presentation: Insights & Techniques to Maximize Engagement

Effective public speaking is a crucial skill often overlooked. Multimedia presentations, such as digital stories, offer an opportunity to cultivate this skill. When appropriately executed, they blend visuals, text, and compelling speech in any setting. This article explores multimedia presentation, focusing on its definition, components, and the advantages it brings to the table.

Table of Contents

What is a Multimedia Presentation?

Types of mediums used in a multimedia presentation, advantages of multimedia presentation, how to create a multimedia presentation.

How to Deliver a Multimedia Presentation?

Video Clips

Video content consists of photographic images displayed in apparent motion at speeds ranging from 24 to 30 frames per second, and even higher values depending on the topic. The term “video” denotes a moving image accompanied by sound, commonly seen in television broadcasts [2]. Text can be incorporated into videos through captions or embedded in images, as seen in slide presentations. It provides a captivating element to the presentation.

Video slide for course lesson presentation

By incorporating motion and imagery, video clips enhance audience understanding and retention, as they can be introduced as a refreshing break during the course of the presentation. It offers the presenter a moment to regroup, especially in lengthy presentations. Videos can emotionally engage audiences through narratives, but their inclusion alone doesn’t guarantee benefits. For effective integration, videos have to follow the narrative of the speech the presenter is sharing. This implies that no random video can be added to a multimedia presentation, and presenters should also take extra care in unrequired effects that don’t contribute to the overall impact of the speech (i.e., abusing VFX or unprofessional transitions).

Now we know why and how videos help a presentation, those who are unfamiliar can learn how to embed a video on a Google Slide .

Infographics

Infographics contribute to the attractiveness of multimedia applications. In numerous situations, the audience prefers visuals over extensive text. It aids in the clarification of concepts and provides background information. In contrast to regular graphics, infographics are commonly acknowledged as a better medium to communicate data extracted from charts and graphs [3]. Their visually appealing format ensures clarity without overwhelming the viewer, making data more digestible.

Text [4] is used in multimedia presentations because it is a familiar media channel. It includes characters of different sizes and styles, making words, phrases, and paragraphs. The text requires less effort compared to a video. But this doesn’t mean presenters shouldn’t care about formatting.

Different fonts and sizes in text matter. Using the wrong font shows a lack of professionalism. Multimedia uses text to share information or enhance other media. Therefore, fonts and sizes can be varied for a cohesive aesthetic.

Graphic Design effects, like text on portrait, are mighty in presentations. This technique, featuring phrases alongside visuals of well-known public figures, enhances interest and reinforces key messages. Choosing the right colors and contrast in text design has a psychological appeal. It increases the audience’s interest.

Text design should also consider those with visual impairments. Hence, the text to be used has to follow specific guidelines. Multimedia follows this by presenting text in various formats. This helps everyone understand the message quickly. They make information accessible instantly.

Audio Snippets

Adding audio into a media presentation gives users information that may be challenging to convey through other mediums. Certain types of information, like a motivational speech or enlightening music, are best conveyed through audio. It is a common practice in the motivational presentation niche to use audio as a resource to accompany exercises, like meditational practices, group activities, and storytelling techniques in which the audience has to place themselves in the shoes of the “character” in the story, and the list goes on.

Research indicates that presenting information through multiple senses improves retention [6]. Importantly, audio can make communication accessible for users who present visual impairments.

Animation is a series of static images rapidly flipped through, creating the illusion of movement [5]. Animation involves making a still image appear to be in motion. It enhances the visual appeal of a presentation. Animation is used for illustrating concepts related to movement, such as playing a guitar or hitting a golf ball. These actions are challenging to depict accurately with static images or text alone.

Likewise, animated sequences can guide employees to respond correctly to different threat scenarios. For instance, showing threat scenarios through animation can enhance employees’ ability to recognize and respond to potential risks. Through movement and visual storytelling, animated templates contribute to a deeper understanding of intricate ideas.

Roadmap animated template for multimedia presentation

Multimedia presentations emerge as a powerful tool for effective communication, offering engagement, retention, and adaptability in professional and educational settings.

Enhanced Engagement

Multimedia presentations excel in captivating audiences through a customized approach to diverse learning preferences. Multimedia presentations stimulate interest and maintain active engagement by integrating visuals and audio.

Improved Information Retention

Research conducted by Saini and Baba underscores the efficacy of multimedia presentations in enhancing information retention [7]. The combination of visual and auditory stimuli helps understanding quickly. It improves the audience’s ability to grasp and remember key concepts.

Professional Appeal

In professional settings, adopting multimedia presentations contributes to elevated sophistication. This method showcases a commitment to deliver information dynamically and accessibly. Thus, presentation on multimedia positively reflects on both the presenter and the organization.

Flexibility in Communication

Multimedia presentations offer flexibility in conveying complex concepts . Incorporating various mediums allows presenters to adapt their communication style to suit the nature of the information. It makes it more accessible to a broader audience.

Increased Accessibility

The inclusion of diverse mediums enhances accessibility for a wider audience. Visual elements cater to visual learners, while auditory components appeal to those who learn best through listening. This inclusive approach ensures that the message resonates with different audiences.

Enhanced Persuasion

The dynamic nature of multimedia presentations facilitates a persuasive delivery . Engaging visuals, coupled with compelling narration, influence opinions. It effectively conveys the presenter’s message, making it more memorable and impactful.

Real-time Demonstration

Multimedia presentations enable real-time demonstration of concepts and ideas. Whether showcasing product features or illustrating complex processes, integrating videos, animations, and live demonstrations leave a lasting impression.

Adaptability to Technological Advances

By using multimedia presentations, presenters showcase adaptability to technological advances [8]. Multimedia presentation aligns with contemporary communication trends. It positions the presenter as forward-thinking and responsive to evolving methods of information delivery.

Crafting an effective multimedia presentation involves thoughtful planning and execution. A well-structured and engaging multimedia presentation is created by following several steps

Required elements to create a multimedia presentation

Define Presentation Objectives

The goals and objectives of the presentation must be clearly outlined [9]. A presenter should identify the key message that is conveyed to the audience. This initial step guides the selection of multimedia elements based on the nature of the content. For instance, data presentations involve the use of infographics. On the other hand, motivational presentations may require photos, illustrations, and videos. Likewise, Business presentations may include interactive graphs and infographics.

Audience Research

Understand the target audience to customize content. Choose multimedia elements that resonate with them [9]. Consider the audience’s demographics, preferences, and expectations to create a presentation that captures their interest.

Select Media Channels

Choose appropriate multimedia channels, such as GIFs, videos, infographics, and animated charts, per the defined objectives. Different media channels convey information in distinct ways. Selecting the right ones enhances the overall impact of the presentation. Otherwise, the presenter can learn about design ideas in detail from SlideModel.

A group of users defining metrics for a multimedia presentation

Write the Presentation Story

Develop a structured storyboard outlining the sequence of content, visuals, and multimedia elements. The story should have a logical flow. It captures the audience’s attention and maintains their interest throughout the presentation.

Select a SlideModel Template

Use a SlideModel template to maintain consistency and professionalism in design, including fonts, colors, and layout. Templates provide a cohesive visual identity. These templates reinforce the message and facilitate a clear understanding of the content. There are plenty of templates available that can assist in creating a multimedia presentation.

Create Narrations or Captions

Develop concise and focused content that supports the key message. This contributes to the overall narrative. Narrations provide spoken explanations, while captions offer written context. Narrations or captions should complement the visuals. They provide context and enhance the audience’s understanding.

Usage of text and graphics in multimedia presentations

Create Deliverables

Deliverables include the finalized presentation file. It ensures compatibility with the chosen presentation software. Generate deliverables for the multimedia presentation. Optimize files for seamless integration and playback. Pay attention to file sizes and formats.

Transitions and Timings

Incorporate smooth slide transitions for a seamless flow between content. Avoid excessive transitions that may distract from the message. Set appropriate timings to maintain a well-paced presentation. Keep the audience engaged.

Infographic and the usage of transitions in multimedia presentations

Speaker Notes

Prepare speaker notes to guide the presenter during the delivery. Attention must be paid to timing and the use of multimedia elements. Speaker notes serve as a roadmap. It ensures a confident and well-timed presentation.

How to Deliver a Multimedia Presentation

Delivering a multimedia presentation with impact involves a strategic approach.

Testing Presentation on Arrival

Prioritize testing upon arrival to prevent any technical inconveniences. Verify the compatibility of multimedia elements and the presentation software with the venue’s system. A smooth technical setup is essential for a flawless multimedia presentation.

Timing of Multimedia Elements

Study the timing of multimedia elements. Especially when introducing videos. Allocate time for a Q&A session post-presentation. This strategic timing ensures audience commitment, thus providing a platform for clarifications and discussions.

Avoid Inconsistent Perceptual Mediums

Leverage various perceptual channels, like hearing and vision, to enhance comprehension. Clarify infographics through spoken explanations. Steer clear of concurrent speech and sound sources to prevent interference and distractions. Seamless integration of multiple media sources is paramount for an effective presentation [10].

Professional Tone

Uphold a professional and authoritative tone throughout the presentation. Stay away from overly casual language to underscore the gravity of your message. Opt for a direct approach, aligning with the formality expected in a multimedia presentation.

Body Language

Pay attention to your body language, a critical aspect of multimedia presentations. Show confident and open postures. It reinforces the verbal communication. Effective body language contributes to the audience’s understanding.

Strategic Pauses for Multimedia Absorption

Introduce strategic pauses at key junctures to allow the audience to absorb multimedia information. Recognize that multimedia elements often require additional processing time. Strategic breaks enhance understanding. This prevents information overload and ensures a smooth flow throughout the presentation.

Visual Commitment through Multimedia

Pay close attention to the effective use of multimedia elements. Use body language to complement multimedia content. It will enhance the audience’s connection with the presentation. Effective visual engagement is crucial for a successful multimedia delivery.

1. Pitch Deck for Multimedia Presentation PowerPoint Template

If you are looking for multimedia presentation examples, in this article, we used one slide of this investor pitch deck to showcase why graphics matter in first impressions. Customize this presentation template to meet the requirements of your company; it just takes a couple of clicks!

Use This Template

2. Multimedia Annual Report PowerPoint & Google Slides Template

Rather than delivering a plain MS Excel sheet, create your report presentation by using this presentation on multimedia format template. Entirely customizable, you can adapt the presentation theme to any color scheme you choose. Download it today and make your annual report presentation the highlight of this year!

3. CV Template for Interview Meetings with Multimedia Effects

Long gone are the days in which resumes were a blank piece of paper with text and a bad-quality photo. Impress recruiters with a well-designed curriculum vitae by harnessing the advantages of multimedia presentations.

4. Collection of Infographic PPT Templates for Multimedia Presentations

For those who don’t know where to start with infographics, this slide deck has it all. Bubbles, demographics, iceberg metaphor, funnels, and more. Access now and customize the graphics in this high-quality infographics template for PowerPoint – fully compatible with Google Slides and Keynote.

Multimedia presentations are at the forefront of the transformation of public speaking. Using various mediums, presenters create engaging experiences for their audience. Integrating multimedia elements in business or academia raises presentations to new heights.

[1] Li, Z.N., Drew, M.S. and Liu, J., 2004. Fundamentals of multimedia (pp. 253-265). Upper Saddle River (NJ): Pearson Prentice Hall. https://www.goodreads.com/book/show/57105399-fundamentals-of-multimedia

[2] Bowen, C., 2017. Grammar of the Edit . Routledge. https://www.goodreads.com/en/book/show/546377

[3] Siricharoen, W.V., 2013, May. Infographics: the new communication tools in digital age. In The international conference on e-technologies and business on the web (ebw2013) (Vol. 169174). https://www.researchgate.net/profile/Waralak-Siricharoen/publication/256504130_Infographics_the_new_communication_tools_in_digital_age/links/0c9605232e6f666b1f000000/Infographics-the-new-communication-tools-in-digital-age.pdf

[4] Malhotra, R. and Verma, N., 2020. An impact of using multimedia presentations on engineering education. Procedia Computer Science , 172 , pp.71-76.

[5] Pavithra, A., Aathilingam, M. and Prakash, S.M., 2018. Multimedia and its applications. International journal for research & development in technology , 10 (5), pp.271-276.

[6] Henmon, V.A.C., 1912. The relation between mode of presentation and retention. Psychological Review , 19 (2), p.79. https://ia600708.us.archive.org/view_archive.php?archive=/28/items/crossref-pre-1923-scholarly-works/10.1037%252Fh0072137.zip&file=10.1037%252Fh0072813.pdf

[7] Saini, G. and Baba, M.M., 2023. Psychological expedient of multimedia in blended learning and metamemory satisfaction. The Learning Organization . https://www.emerald.com/insight/content/doi/10.1108/TLO-11-2022-0130/full/html

[8] Lauer, C., 2009. Contending with terms: “Multimodal” and “multimedia” in the academic and public spheres. Computers and composition , 26 (4), pp.225-239. https://citeseerx.ist.psu.edu/document?repid=rep1&type=pdf&doi=1dd08158225c41e82243a7efe74e61c140293775

[9] Hosseini, Z. and Kamal, A., 2013. How to design effective multimedia presentations. In 7th International Symposium on Advances in Science and Technology (7th SASTech 2013) Pp (pp. 7-8).

[10] Sutcliffe, A.G., 1999. A design method for effective information delivery in multimedia presentations. New review of hypermedia and multimedia, 5(1), pp.29-58. https://doi.org/10.1080/13614569908914707

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Discovering Multimedia Presentations: Definition and Uses

Discover the power of multimedia presentations—a captivating way to effectively communicate ideas and messages to your audience. By blending various media elements such as text, audio, video, and images, these presentations breathe life into information like never before. Whether you’re aiming to market a product, conduct training sessions, or deliver educational content, multimedia presentations serve a wide range of purposes. Join us as we delve deeper into this dynamic communication tool, exploring its components, uses, and much more. Keep reading to unlock the secrets of engaging multimedia presentations!

Multimedia Presentations: A Dynamic Communication Tool

Let’s explore the fascinating world of multimedia presentations—a captivating blend of various media types that work together to communicate information effectively. This flexible format combines elements like text, audio, video, images, animations, and interactive features. The term “multimedia” itself indicates the use of multiple forms within a single piece of work. Creating these presentations is made easy with popular software like Microsoft PowerPoint, Google Slides, Keynote, or Prezi. However, other tools such as video editing software and audio recording programs can also be used to craft engaging multimedia presentations.

These presentations are widely embraced in corporate settings as powerful communication tools to convey ideas to both employees and customers. Additionally, they prove invaluable in training sessions and educational environments, where they effectively teach new concepts and disseminate information.

Exploring the Components of Multimedia Presentations

The backbone of a multimedia presentation, text encompasses headlines, body text, and captions. Using concise and reader-friendly text is crucial to ensure clarity and comprehension. Multimedia presentations consist of four main categories that play integral roles in conveying information effectively:

Audio: Adding depth and dimension to the presentation, audio can provide background information or narrate slides. Well-executed audio keeps the audience engaged and enhances the overall memorability of the presentation.
Video: Increasingly popular, video segments are used to demonstrate processes, explain complex concepts, or narrate compelling stories. Integrating video into a presentation effectively captivates the audience and leaves a lasting impact.
Images: Another essential component, images contribute visual interest, illustrate points, and present data through charts and graphs. High-quality and relevant images further enhance the topic’s understanding.
Additional Elements: Multimedia presentations can incorporate various other elements, including animations, music, charts, infographics, and sound effects. To elevate viewer engagement, interactive features like buttons or links can also be included. By utilizing this diverse range of components, multimedia presentations become powerful tools for effective communication and captivating storytelling.

woman shows a tablet with photos for the people on meeting

The Versatile Applications of Multimedia Presentations

Multimedia presentations have an array of applications, and their effectiveness in sharing messages and ideas is unmatched.

In the corporate world, these presentations prove invaluable as powerful tools to communicate ideas with employees and consumers alike. They are frequently used in board meetings, investor pitches, and various business-related contexts to effectively convey essential information.

Within educational settings, multimedia displays play a crucial role in elucidating complex topics and concepts. Teachers often depend on them in classrooms and during lectures to facilitate more effective learning for students.

What makes multimedia exhibits truly remarkable is their flexibility to fit any audience and occasion, making them suitable for both formal and informal environments. Depending on the specific requirements, communicators can modify the amount of information included and select different media elements to effectively convey their message. Whether it’s a business meeting, a classroom, or any other scenario, multimedia displays provide an engaging and impactful means of communication.

How to Prepare a Multimedia Presentation

Now that you have a grasp of multimedia presentations, let’s delve into the steps to create one.

Tips for Crafting Effective Multimedia Presentations

Tip 1: Begin with a Captivating Introduction

The opening of your presentation is crucial. To make a lasting impact, start with a strong and engaging introduction that immediately captures your audience’s attention. This initial moment sets the tone for the rest of your presentation, so be creative and captivating from the outset.

Tip 2: Embrace Simplicity in Slide Design

A cluttered slide can overwhelm your audience and hinder their understanding. Instead, opt for simplicity in your slide design. Keep visuals and text minimal, ensuring that each element enhances readability and comprehension. Your slides should complement your message, not distract from it.

Tip 3: Keep it Concise

Respecting your audience’s attention span is vital for maintaining engagement. On average, people’s focus tends to wane after about 20 minutes. Aim to deliver your presentation within 15 minutes or less, allowing for better retention and attention from your listeners.

Tip 4: Harness the Power of Visual Aids

Visual aids can significantly enhance the effectiveness of your multimedia presentation. They simplify complex concepts, add visual appeal, and make your content more compelling. Integrate relevant images, graphs, or charts that complement your narrative and help convey your ideas clearly.

Tip 5: Practice for Perfection

Rehearsing your presentation multiple times before the actual event is key to success. Practice boosts your confidence, familiarizes you with the flow of your speech, and allows you to refine your delivery. Moreover, it helps you anticipate and address any potential challenges or questions that may arise during your presentation.

woman shos presentation about agile to auditory

Multimedia Presentation

Table of contents, what is a multimedia presentation.

What makes a multimedia presentation different than the average PowerPoint, Prezi, or other presenter software, is the fact that a multimedia presentation incorporates both audio and visual elements to captivate an audience. It can be used for anything from lectures, trainings, presentations, or even marketing campaigns. Multimedia presentations can range from simple PowerPoint slideshows to complex video productions.

Other popular elements of a multimedia presentation will range from stock photos, audio narration, background music, custom transition animations, animated icons , and even sound effects. While the setting and types of presentation may vary, the core purpose of the multimedia presentation is to deliver the message to a group or audience.

Unlike a PowerPoint presentation however, the term “multimedia presentation” is more commonly used in the business or corporate setting. Companies will use them in trade show displays, explainer videos that demonstrate how their product or services is best suited for their customer. All multimedia presentations however start off in the same manner as a PowerPoint does, a blank canvas or document that outlines what content (text, photos, ideas) must be presented by the time the presentation has finished.

(created for a past client)

Advantages of multimedia presentations

One of the major benefits of using a multimedia presentation is to allow for different types of learning styles. Auditory, visual, and kinesthetic learners all learn differently, so incorporating multiple types of multimedia will help ensure that everyone in the audience is able to comprehend your message.

Another advantage of using multimedia is that it keeps your audience engaged. If you have a longer presentation, visuals can help break up the monotony of simply talking and help keep listeners’ attention. Audio elements such as music and sound effects can also be effective in keeping a consistent flow to the presentation.

Developing an outline for a multimedia presentation

When creating an outline for your multimedia presentation, it’s important to start by identifying the key points that you want to make. This will serve as a roadmap for the rest of your presentation and ensure that each slide is structured in a way that makes sense in relation to the topic at hand.

You should also consider how many slides you’ll need and what kind of visuals you’ll be using. Will you be presenting images, videos, or something else? Once you have a basic outline of your presentation, you can start building out each slide.

optimizing content for maximum engagement

When it comes to multimedia presentations, clarity and conciseness are key. Each slide should communicate the main point quickly and effectively. Too much content or too many visuals can be overwhelming and make it difficult for your audience to comprehend the point you’re trying to make.

It’s also important to think about how the audio and visual elements of each slide will interact with one another. Listeners should be able to clearly hear what is being said, while visuals should be used to reinforce the audio. When done correctly, multimedia presentations create an immersive experience that engages your audience and helps them better understand and remember what they just heard.

how to create a multimedia presentation

If you already have a Powerpoint presentation, congrats! You’ve saved yourself some time as the content is already there. The most important aspect at the beginning is determining which headlines are to be paired with which text, everything else is secondary.

PowerPoint and other presentation software creators can give you many ideas for the flow of the video presentation but they lack the custom animations and “pop” that a multimedia presentation can benefit from.

Take for example, the series of presentation images above. These look great from a layout-perspective but typically what these “out-of-the-box” software options will do is only enable you to click and the image will appear (sure, maybe it’s a dissolve or flash animation but remember, everyone else is doing this as well).

Multimedia presentation software

If you or someone you know has access to the Adobe Creative Suite, I highly recommend using this first and foremost. If not, Adobe After Effects will be powerful enough to get you up and running with animations, unique backgrounds and the best part is you can import all your own images.

While this is not a tutorial on how to use After Effects, some of the nifty things you can do is animate your logo as the intro. This is one component of presentations that I often find people overlook. Having a solid intro (5-10 seconds max) can give your video presentation that “branded feel.” Attached here is one I created for REMAX Brokerage.

What are common multimedia components

In a multimedia presentation, several components work together to convey the main topic and points. To help the end user better consume the message, components that are frequently found in a multimedia presentation are:

Transitions

Let’s take a look at each one below…

Even if you opt to present a multimedia presentation vs. a written report, it is beneficial to include at least some text. There can’t be any presentation whether simple or multimedia which doesn’t contain text, simply because audience members benefit from a diverse set of data inputs (i.e. audio, visual, kinetic). That is why the text is a basic component of multimedia presentation. However, text can take several forms in multimedia presentations such as headlines, features list, and more. It does not have to be paragraphs that can be daunting to read.

Images and Photos:

Images (whether your own or stock photos) can be a great benefit to the overall presentation. I believe the saying goes “a picture tells 1000 words…” while this is certainly true, keep in mind that all components of a multimedia or video presentation should be used to support the other elements. Too much of a good thing can be just that…too much.

image resolution

Choosing images and videos for your multimedia presentation is only half the battle. You also need to make sure that these visuals are of high enough quality for your audience to be able to enjoy them. Image resolution is an important factor in multimedia presentations – using images or videos with low resolution can make them look blurry and low-quality, which can ruin the overall effect of your presentation.

Background music and vocal narration are two other elements that can help bring a presentation to life. Music can not only help an audience pay more attention to the overall presentation but give it a bit more “pop.”

Animated Icons:

Animated Icons within multimedia presentations typically render as video or GIF format . If you’re using a popular presentation software such as PowerPoint, dragging and dropping (or uploading) is one of the easiest ways to quickly add some dynamic movement. Below are a few animations icons for customization. (change colors, dimensions, format, etc.):

What Is The Most Important Aspect of a Multimedia Presentation

The most important aspect of a multimedia presentation is the message it’s trying to convey. It’s all too easy to get caught up in picking visuals and planning out slides, but without a clear message, your presentation won’t be effective.

Make sure that each slide serves a purpose and helps drive home the main point you are trying to make. This will ensure that your presentation leaves a lasting impression on your audience and helps them get the most out of what you’re trying to say.

Data Infographics & Animated Charts

Animated charts and graphs are a great way to help showcase your information and message. Even if you are not using a video format for your entire presentation, i.e. using something like PowerPoint, you can embed video infographics and GIFs inside your presentation. Considerations for your animated graphs can be:

Dimensions of graph
Format (GIF vs. Video)
Length of Animation
Image to Text Ratio

is a powerpoint a multimedia presentation

A Powerpoint presentation can indeed be considered a multimedia presentation, as it can include both visual and audio elements. However, for a Powerpoint to truly be considered a multimedia presentation, the visuals should work together with the audio in order to create an immersive experience that engages your audience.

Where are video presentations used

There is wide use of multimedia presentations in business and corporate events. Various training programs take place in offices and organizations where multimedia presentations play a vital role. Video training and internal communication has benefited from the use of media and video presentations because let’s face it…reading through TPS reports all day can become quite straining on the mind.

From video advertisements, conferencing, classes, and workshops, these presentations can help you in better representing your brand and business.

final multimedia design tips

The best multimedia presentations are those that capture the attention of their audience and keep them engaged throughout. To create a successful multimedia presentation, it’s important to consider key factors such as content structure, visuals, audio-visual interaction, color palettes, and image resolution. With these tips in mind, you’ll be well on your way to creating an effective multimedia presentation that packs a punch.

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Understanding Media and Culture: An Introduction to Mass Communication

(32 reviews)

ISBN 13: 9781946135261

Publisher: University of Minnesota Libraries Publishing

Language: English

Formats Available

Conditions of use.

Learn more about reviews.

Reviewed by Jenny Dean, Associate Professor, Texas Wesleyan University on 2/27/24

This book is pretty comprehensive, but it is getting old in the media world where things are changing at a great pace. The basic text is good, but needs supplementary materials to truly keep pace with technology today. read more

Comprehensiveness rating: 3 see less

Content Accuracy rating: 3

I am sure the book was accurate when it was published, but the world keeps changing, and it isn't as current as it needs to be. But, it still isn't bad for a free book to access.

Relevance/Longevity rating: 3

Once again, same issue. The book is almost seven years old and hasn't been updated. The issue is that the examples and illustrations are getting to be a bit dated. I suspect that there aren't any updates of this book planned, which is unfortunate. If updated, this would be a fantastic read for students.

Clarity rating: 5

It is simple to read and is easily accessible. It meets the needs of a young college student.

Consistency rating: 5

Yes, the textbook is internally consistent in terms of terminology and framework.

Modularity rating: 5

It is well-subdivided and easy to access. Good use of subheadlines. It is a smooth read, and easy to find information through headers, subheads, headlines, and blocks of type.

Organization/Structure/Flow rating: 5

Everything is presented in a clear and concise manner.

Interface rating: 5

This textbook comes in a wide variety of formats and can be accessed by almost everyone through one method or another. It was super easy to access.

Grammatical Errors rating: 5

The text is clean and clear of errors.

Cultural Relevance rating: 3

I don't think this book is as inclusive as the typical book written today. This is simply because times have changed, and the need for inclusive and culturally sensitive books has escalated exponentially from the time this book was written. It needs more culturally relevant examples. I wouldn't say that anything in the book is culturally insensitive or offensive, but it isn't as diversified as it needs to be.

This is an excellent book for an introduction to mass communication or an introduction to media and society course. It covers all the basics that I would expect to cover. It just needs some updating which can be done through supplementary materials.

Reviewed by Ryan Stoldt, Assistant Professor, Drake University on 12/15/22

Comprehensiveness rating: 4 see less

Understanding Media and Culture: An Introduction to Mass Communication thoughtfully walks readers through popular media and connects these media to questions about culture as a way of life. The book undoubtedly is comprehensive in its scope of American media but largely fails to consider how media and culture relate in more global settings. The book occasionally references conversations about global media, such as the differences between globalization and cultural imperialism approaches, but is limited in its engagement. As media have become more transnational their reach and scope (due to technological access, business models, and more), the American focus makes the text feel limited in its ability to explain the relationship between media and culture more broadly.

Content Accuracy rating: 5

The text is accurate although it has limited engagement in some of the topics it explores. As such, this would be a good introductory text but would need to be paired with additional resources to dive into many topics in the book with both accuracy and nuance.

Many of the sections of the book are relevant, as the book often contextualizes media through a historical lens. However, the more current sections of the book (such as the section on the Internet and social media) have become outdated quickly. These, once again, would be useful starting places for classroom conversation about the topic but would need to be paired with more current readings to hold a deeper conversation about social media and society today.

Some terms could be further explained, but the text is overall well written and easy to understand.

Consistency rating: 4

The book pulls from multiple approaches to researching and discussing media and culture. The introductory chapter draws more heavily from critical media studies in its conceptualizations of the relationship between media and culture. The media effects chapters draw more heavily from more social scientific approaches to studying media. The author does a nice job weaving these approaches into a consistent conversation about media, but different approaches to studying media could be more forwardly discussed within the text.

The author has made the text extremely easy to use modularly. Chapters are self-contained, and readers could easily select sections of the book to read without losing clarity.

The book employs consistent organization across the subjects discussed. Each chapter follows a similar organizational structure as well.

Interface rating: 4

Because the text is so modular, the text does not flow easily when read on the publisher's website. Yet, downloading the text also raises some issues because of strange formatting around images.

I have not seen any grammatical errors.

As stated previously, the book is extremely biased in its international representation, primarily promoting Americans' engagements with media. The book could go further in being more representative of different American cultures, but it is far from culturally insensitive.

Understanding Media and Culture would be an extremely useful introductory text for a class focusing on American media and society. A more global perspective would require significant engagement with other texts, however.

Reviewed by David Fontenot, Assistant Professor, Metropolitan State University of Denver on 11/15/22

The text comprehensively covers forms of media used for mass communication and includes issues towards emerging forms of mass communication. read more

Comprehensiveness rating: 5 see less

The text comprehensively covers forms of media used for mass communication and includes issues towards emerging forms of mass communication.

Content Accuracy rating: 4

In some places there is nuance missing, where I feel brief elaboration would yield significantly clearer comprehension without bias or misleading associations about media's influence on behavior.

Relevance/Longevity rating: 5

Still relevant and up-to-date with a valuable emphasis on issues related to internet mass media.

Very readable, with little jargon. Definitions are presented clearly and used in subsequent discussions.

Internal consistency is strong within the chapters.

Modularity rating: 4

The majority of chapters can be taken independently, with only a few larger structural pieces that lay the foundation for other sections.

The book takes an historical approach to media, which lends itself to a logical progression of topics. I might suggest, however, that for most students the material that is most accessible to their daily lives comes last with such an approach.

Interface rating: 3

The downloaded file has some very awkward spots where images seem clipped or on separate pages than the content that reference them. I only viewed this textbook in the online downloaded PDF format.

Grammatical Errors rating: 4

No grammatical errors have jumped out at me in sections read so far.

There are quite a few opportunities to include discissions of media and culture that don't seem so anglo-centric but they are passed up.

I am using this textbook as the basis for an interdisciplinary class on media and the criminal justice system, and in that regard I think it will serve very well for an introductory level textbook. It provides a concrete set of core ideas that I can build off of by creating tailored content to my students' needs.

Reviewed by Elizabeth Johnson-Young, Assistant Professor, University of Mary Washington on 7/1/22

Appropriately comprehensive. Having some more up-to-date citations, particularly in the media effects theories criticisms section (with some more explanations) would be beneficial--perhaps supplementing with some ways these have been updated would... read more

Overall, content is clear and accurate.

Relevance/Longevity rating: 4

Mass media may always need updating, but this is appropriate and up-to-date.

Clarity rating: 4

Is an accessible text in terms of clarity and provides necessary definitions throughout in order to provide the reader with an understanding of the terminologies.

Text introduces terms and frameworks and uses them consistently throughout.

Small, easy to read blocks of text--could easily be used in a variety of courses and be reorganized for a particular course.

Organization/Structure/Flow rating: 4

Topics presented clearly and in an order that makes sense.

Easy to read through and images clear and displaying readily. It would help if there was a way to move forward without having to click on the table of contents, particularly in the online format.

No errors that stick out.

While appropriately comprehensive for an intro text, more examples and/or acknowledgment of who has been left out and those impacts could be helpful in the social values or culture discussions.

Overall, this is a great text and one that could be used in full for a course or in sections to supplement other communication/media studies courses!

Reviewed by David Baird, Professor of Communication, Anderson University on 4/18/22

I don’t know if any intro textbook can cover “all areas and ideas,” but this text was adequate to the task—basically on par with any other textbook in this space. I didn’t see a glossary in the chapters or an index at the back of the book. On the... read more

When the text was published, it would have been considered “accurate.” The content was competently conceptualized, well written and reflective of the standard approach to this kind of material. I didn’t notice any egregious errors of content aside from the fact that the book was published some years ago is no longer very current.

The primary weakness of the book is that it was published more than a decade ago and hasn’t been updated for a while. The text is relevant to the focus of the course itself, but the examples and illustrations are dated. For example, the book uses a graphic from the presidential election of 2008 in a treatment of politics, and “Who Wants to be a Millionaire?” is an example of current television programming.

I conducted a text search that tabulated the number of references to the following years, and these were the results: 2010: 588 2011: 49 2012: 8 2013: 4 2014: 0 2015: 2 2016: 0 2017: 0 2018: 1 2019: 1 2020: 0 2021: 1 2022: 1

The references to the more-recent years tended to crop up in forward-looking statements such as this one: “With e-book sales expected to triple by 2015, it’s hard to say what such a quickly growing industry will look like in the future.”

The second part of the question referred to the implementation of updates. I doubt that any updates are planned.

The text is well written and meets the usual standards for editorial quality.

The framework and "voice" are internally consistent.

The chapter structure provides the most obvious division of the text into accessible units. Each chapter also has well-defined subsections. Here’s an example from one chapter, with page numbers removed:

Chapter 13: Economics of Mass Media

Economics of Mass Media Characteristics of Media Industries The Internet’s Effects on Media Economies Digital Divide in a Global Economy Information Economy Globalization of Media Cultural Imperialism

This aspect of the text makes sense and is largely consistent with similar textbooks in this area.

The text is available in these formats: online, ebook, ODF, PDF and XML. I downloaded the PDF for purposes of my review. The formatting was clean and easy to work with. I didn’t notice any problems that made access challenging.

I can’t say with certainty that a grammatical error or typo can’t be found in the textbook, but as I noted above, the writing is strong. I’ve seen much worse.

Cultural Relevance rating: 4

The text seems to be around a dozen years old now, so it doesn’t include discussion of some of the high-profile perspectives that have surfaced in more recent years related to race, ethnicity, sexuality, etc. However, the book does discuss examples of media issues “inclusive of races, ethnicities, and backgrounds,” and this material is presented with sensitivity and respect.

This is a reasonably good resource for basic, intro-level definitions and explanations of some of the major concepts, issues and theories in the “Mass Communication” or “Media and Society” course, including:

• functions of the media • gatekeeping • media literacy • media effects • propaganda • agenda setting • uses and gratifications

The textbook also offers the standard chapters on the various media—books, newspapers, magazines, radio, television, etc. These chapters contextualize the various media with standard accounts of their historical development. My feeling is that much of the historical background presented in this book is more or less interchangeable with the material in newer textbooks.

However, the media industries have changed dramatically since the textbook was written, so all of the last decade’s innovations, developments and controversies are entirely missing. Of course, even a “new” textbook is going to be somewhat dated upon publication because of the book’s production timeline and the way that things change so quickly in the media industries—but a book published in 2021 or 2022 would be far more up-to-date than the book under review here.

The bottom line for me is that if one of an instructor’s highest priorities is to provide a free or low-cost textbook for students, this book could work with respect to the historical material—but it would have to be supplemented with carefully selected material from other sources such as trade publications, industry blogs and news organizations.

Reviewed by Kevin Curran, Clinical Assistant Professor, Loyola Marymount University on 3/21/22

This is one of the most comprehensive media studies books I’ve read. It attacks each media platform separately and with sufficient depth. That is followed by economics, ethics, government/law, and future predictions. Takeaways attend of each... read more

Takeaways attend of each section will aid comprehension. Exercises at end of sections could be jumping off point for discussions or assignments. Chapters end with review and critical thinking connections plus career guidance.

The Chapter 2 rundown on both sides of media theories and summary of research methods was well-done.

Everything about this tome is good, except for its dating.

The book is well-researched and provides valuable, although often dated, information. The author used a variety of sources, effective illustrations, and applicable examples to support the points in the book.

It can be very hard to keep up with constant changes in the mass media industry. This book was reissued in 2016, but it has not been revised since the original copyright in 2010. The dated references start on page 2 when it speaks of Ringling Brothers and Barnum & Bailey as existing, when that circus ceased in 2017. The medium-by-medium exploration is well done, although the passage of time affects the end of each chapter.

Adoption of the book as-is will mean developing an update lesson for each chapter. For example, while smartphones are mentioned, they had not achieved saturation status at the time this volume was published.

The points are presented clearly. References with hyperlinks are available at the end of each section for those who still have questions or want more information. However, it is possible that because of the age of the book, some of those links may no longer be available.

The media chapters each follow a similar pattern in writing and order.

This will break up easily. The first chapter gives a good taste of what is to come. The book provides a comprehensive look at the history and influence of each medium individually. The last group of chapters necessarily contains many flashbacks to the medium sections.

It follows a logical pattern from the introduction to the individual medium chapters to the “big picture” chapters. That does require signposting between the two sets of chapters that some might find frustrating.

Interface rating: 2

The book is a standard PDF with links. The scan could have been better, as there is a lot of white space and illustrations are inconsistently sized. Users hoping for lots of interactivity are going to be disappointed.

The book is well edited. It is hard to find errors in writing mechanics.

The authors took a broad view of the mass media world. The music chapter was very well done.

Reviewed by Lisa Bradshaw, Affiliate Faculty, Metropolitan State University of Denver on 11/26/21

This textbook, downloaded as a 695-page PDF, contains 16 chapters and covers a variety of media formats, how they evolved, and how they are created and used, as well as issues related to media impact on society and culture. It is quite comprehensive in its coverage of media for the time of its writing (copyright year 2016, “adapted from a work originally produced in 2010”).

Content seems accurate for its time, but as technology and media have evolved, it omits current references and examples that did not exist when it was written. There does not seem to be bias and a wide variety of cultural references are used.

As mentioned previously, this textbook’s copyright year was 2016, and it was adapted from a 2010 work. It’s not clear how much of the content was updated between 2010 and 2016, but based on the dates in citations and references, the last update appears to have been in 2011. Even if it had been updated for the year 2016, much of the information is still out-of-date.

There is really no way to write a textbook about media that would not be at least partially out of date in a short time. This text’s background and history of the evolution of the various media forms it covers is still accurate, but there is much about the media landscape that has changed since 2010–2016.

Due to the textbook’s age, references to media platforms and formats such as MySpace, Napster, and CDs seem outdated for today’s media market. The textbook refers to previous political figures, and its omission of more recent ones (who were not on the political landscape at the time of writing) makes it seem out-of-date. To adapt it for modern times, these references need to be updated with fresh examples.

The writing level is relatively high. A spot check of the readability level of several passages of text returned scores of difficult to read, and reading level 11-12 grade to college level. The author does a good job of explaining technical terminology and how different media work. If adapting the text for students with a lower level of reading, some of the terminology might need to be revised or explained more thoroughly.

The text is consistent in its chapter structure and writing style. The order of topics makes sense in that chapters are mostly structured by media type, with beginning and end sections to introduce each respective media type in general, and conclude with a look to the future.

If adapting and keeping the same structure (intro to media in general, coverage of different media types in their own chapters, and main issues related to media), this 695-page textbook could be condensed by eliminating some of the detail in each chapter. There are a number of self-referential sentences that might need to be removed. If adapting the text to a more specific subject, the instructor would need to go through the text and pick out specific points relevant to that subject.

Each chapter introduces the respective media type and concludes with a summary that reflects on the future of that type and how it might evolve further. The chapters overall follow the same structure for consistency: overview, history, the media in popular culture, current trends, and potential influence of new technologies, with end-of-chapter Key Takeaways, Exercises, Assessment, Critical Thinking Questions, Career Connection, and References.

The text is well written and logically structured and sequenced. Despite its length, it’s easy to find information, as it’s ordered by chapters that address each media type and major issues related to media, and each chapter has a parallel structure with the others, all following mostly the same pattern.

I did not notice grammatical errors. The text is clearly and accurately written, and appears to have been thoroughly copyedited and proofread.

Cultural Relevance rating: 5

I did not notice cultural insensitivity in the text. A wide variety of cultural references are used. Examples from around the world and from many different cultures are included, including discussions of digital divide and inequity issues related to media access in disadvantaged populations.

Reviewed by Adria Goldman, Assistant Professor of Communication, University of Mary Washington on 7/11/21

The text nicely breaks down different forms of mass communication. The text provides some historical background and discussion of theory to provide context for discussing mass media, which is all useful in helping students understand media and communication. There is not much discussion about the cultural significance of media. If using the text in a course, supplemental readings on the significance of culture and diversity, the importance of media representation, and media influence on an individual level (ex: impact on identity), would be especially helpful for a course exploring media and culture. The text does not feature a glossary or index, however the bolding of key concepts throughout the text is helpful in defining key terms.

The content is error-free. More discussion on culture would provide a more accurate account of mass communication and its significance.

The subject is very relevant and the book features topics important for a discussion on mass communication. As mentioned in other parts of this review, there is not much diversity featured throughout the text, which can impact the relevancy of the material to audiences and impacts the relevancy of the content in discussions on mass media and society. Updates would be straightforward to implement.

The text is clear and easy to follow.

The text is consistent in its use of terms and its framework. Since the book title mentions a focus on culture, an interesting add-on would be to have each section (on a specific type of mass communication) feature a discussion of culture and its significance.

The text's modularity is useful. It looks like it would be easy for students to follow and for instructors to re-structure in order to fit their course design.

The information follows a logical order, beginning with a discussion on the significance of mass communication and then going into each type.

No issues with interface noted.

No glaring grammatical issues noted.

Cultural Relevance rating: 2

There is not much focus on the significance of culture. More discussion on the role of race, class, sex, gender, religion and other elements of identity would be helpful in exploring mass communication--past, present, and potential for the future. The text could also use an update in images and examples to include diverse representation and to further communicate the role of culture, diversity, and representation in communication and mass media.

The book provides an understanding of mass communication that would be easy for undergraduate college students to follow. The optional activities would also spark interesting discussion and give students the opportunity to apply concepts. Students using the text would benefit from (1) more discussion on culture's significance in media and communication and (2) more diversity in the images and examples used.

Reviewed by Brandon Galm, Instructor in English/Speech, Cloud County Community College on 5/4/21

One of the strong suits of this particular resource is its comprehensiveness, with topics ranging from specific mass comm mediums to the intersections/impacts of media on culture, politics, and ethics. There's enough here to easily cover a full... read more

The content is well-sourced throughout with a list of references at the end of each chapter. The hyperlinks on the references page all seem functional still. Hyperlinks within the chapters themselves--either sending the reader to the reference list or to the articles themselves--would be helpful.

As of this review writing, some of the content is relatively up-to-date. However, with a quickly changing landscape in mass communications and media, certain chapters are becoming out-of-date more quickly than others. The information discussed is more current than most of the information cited. The structure of the book lends itself to easy updating as technologies and culture shift, but whether or not those updates will take place seems unclear with the most recent edition being 5 years old at this point.

All information is presented in a way that is very clear with explanations and examples when further clarification is needed.

For a book covering as many different topics as it does, the overall structure and framework of this textbook is great. Chapter formats stay consistent with clearly stated Objectives at the start and Key Takeaways at the end. Visual examples are provided throughout, and each chapter also includes various questions for students to respond to.

Chapters are broken down into smaller sub-chapters, each with their own sub-headings hyperlinked in the Table of Contents. Each sub-chapter also includes the above-mentioned Objects, Key Takeaways, and questions for students. Chapters and/or sub-chapters could easily be assigned in an order that fits any syllabus schedule and are in no way required to be read in order from Chapter 1 to Chapter 16.

I would like to have seen the book laid out a bit differently, but this is a minor concern because of the overall flexibility of assigning the chapters. The book starts with broad discussions about media and culture, then shifts into specific forms of media (books, games, tv, etc.), then returns to more broad implications of media and culture. Personally, I'd like to see all of those chapters grouped together--with all of the media and culture chapters in one section, and all of the specific forms chapters in another. Again, this is a minor issue because of the overall flexibility of the book.

As mentioned above, hyperlinks--including in the Table of Contents and references--are all functional. I would have liked to have hyperlinks for the references in the text itself, either as a part of the citation or with a hyperlinked superscript number, rather than just in the references page. All images are easily readable and the text itself is easy to read overall.

No grammatical errors that immediately jumped out. Overall seems clear and well-written.

The text provides lots of examples, though most do come from US media. The sections dealing with the intersections between media and culture are similarly US-centric.

Overall, a solid introductory textbook that covers a wide range of topics relevant to mass communications, media, and culture. The text is bordering on out-of-date at this point, but could easily be updated on a chapter-by-chapter basis should the publisher/author wish to do so.

Reviewed by Dong Han, Associate Professor, Southern Illinois University Carbondale on 3/30/21

It covers all important areas and topics regarding media, culture, and society. Different media forms and technologies from printing media to social media all have their own chapters, and academic inquiries like media effects, media economics, and media and government also receive due attention. This textbook will meet the expectation of students of all backgrounds while introducing them to theoretical concerns of the research community. Its chapter layout is properly balanced between comprehensiveness and clarity.

Its content is accurate and unbiased. The textbook is written with ample research support to ensure accuracy and credibility. References at the end of each chapter allow readers to track sources of information and to locate further readings.

It is up-to-date in that the major cultural and media issues it identifies remain highly relevant in today’s world. However, since it was first produced in 2010, some more recent occurrences are not part of the discussion. This is not meant to be a criticism but a reminder that an instructor may want to supplement with more recent materials.

It is written with clear, straight-forward language well-suited an introductory textbook. The chapter layout, as mentioned earlier, is easy to access.

The book is consistent in terms of terminologies and its historical approach to media growth and transformation.

Each chapter is divided in sections, and sections in turn have various reading modules with different themes. For undergraduates taking an introductory course, this textbook will work well.

The topics are presented in an easy-to-access fashion. The textbook starts with a general overview of media and culture and a persistent scholarly concern with the media: media effects. Then it moves through different media in alignment with the chronological order of their appearance in history. The last few chapters focus on important but non-technology-specific topics including advertising and media regulations. For an introductory textbook, it is very accessible to the general student body.

The textbook does not have significant interface issues. Images, charts, and figures all fit well with the text.

There are no grammatical errors.

The textbook has a number of examples of minority cultures and ethnicities. It does not, however, have ample discussions on media and culture phenomena outside of the US, except those that have had significant impact on American culture (e.g., Beatlemania).

All considered, this is a very good textbook to be used in an introductory course. It is comprehensive, easy-to-read, and can help prepare students for future in-depth discussions on media, culture, and society.

Reviewed by Elizabeth Johnson-Young, Assistant Professor, University of Mary Washington on 7/6/20

Comprehensive text regarding mass communication, culture, and effects. The historical perspectives are helpful for understanding, particularly as it goes on to focus in on convergence throughout the text. A more complete glossary or index would be helpful for terms for an introduction text, but key terms are highlighted and defined throughout. Extra examples would help throughout, particularly with theories and research methods.

Accurate, up to date information on history, concepts, and theories.

The information focuses on important historical moments, theories, cultural impacts, and moves to the present with ideas and examples that will likely remain relevant for quite some time.

Clear, easy to read text that would benefit introductory students of mass comm.

Introduces terms and concepts and then utilizes them throughout.

The separation of the larger text into smaller sections is incredibly helpful and makes reading and assignments of readings easy, leading also to the ability to separate into sections that would be appropriate for any course organization.

Organization is logical and easy to follow. Importantly, because of the modularity, it would also be easy to re-organize for one's course.

Navigation works, images clear and detailed.

No glaring grammatical errors.

The examples and images demonstrate diversity in race and also provides examples outside of the United States, which is important. There is some diversity in terms of gender and sexual diversity, more of which would be beneficial and various sections would be appropriate for that inclusion.

This is an excellent and comprehensive text for intro students that includes important historical moments and thorough coverage of main concepts and theories in the field, with a diverse set of moments and examples.

Reviewed by Emily Werschay, Communication Studies Instructor, Minnesota State University System on 10/22/19

Overall, this textbook is quite comprehensive in covering various channels of media, particularly from a historical perspective, and would work well for an introductory course. It features the same focused areas of content that are in my current publisher textbook and incorporates elements of culture as well. It does not provide a glossary or index, which would be helpful, but key terms are in bold.

The text contains accurate research with clearly-cited references that give credibility to the content.

The historical content is well-crafted. The text provides a clear and informative introduction to the history of media and does well with the rise of newspapers, television, and movies. You will not, however, find a reference more recent than 2010, which means any advancements in media and technology in the past decade are not covered. An instructor using this text would have to supplement content on current types of media such as streaming television and music services and the current debate of social media shifting toward news publishing in terms of content delivery. While the text includes culture and political climate of the past, much would need to be supplemented for the last ten years.

The text is professional and well-written. It is well-suited to a college reading level.

The chapter format, writing style, and overall presentation of information are consistent throughout the text. I appreciate the defined learning outcomes and key takeaways pulled out in each chapter.

The text is divided into clear chapters focusing on one medium at a time, much like other publisher texts for mass communication. For example, books, newspapers, magazines, music, radio, movies, and television each get their own chapter. Each chapter begins with clearly defined learning outcomes, and features key takeaways, exercises, assessments, and critical thinking questions at the end, as well as a section on career connections.

The topics are presented in chronological order from the history of mass communication, through the various mediums, and finally to the future of mass communication (though most will find the content particularly about recent and current trends will need to be supplemented as it is outdated).

I didn't find any problems with the interface as it is a standard text that can be viewed as a PDF, but an index would really help navigation. I will say that it's not particularly user-friendly, so I may try integrating the online format chapter-by-chapter into D2L so that I can break it up by modules and add links to make it more interactive with supplemental resources.

Professional, well-written text with no errors.

I don't believe readers will find any of the text culturally insensitive or offensive. The text is focused on U.S. media, however, so some supplemental content may be needed.

This textbook is very comprehensive and will work well for an introductory course. It covers the same focus areas as my publisher text, so I feel comfortable switching to this textbook for my Introduction to Mass Communication course with the awareness that it does not cover the past decade. I will need to provide supplemental information to update examples and cover current topics, but that is generally accepted in this particular field as it is continually changing with advancements in technology.

Reviewed by Bill Bettler, Professor, Hanover College on 3/8/19

This text is comprehensive on several levels. Theoretically, this text echoes the framework employed by Pavlik and McIntosh, which displays sensitivity to convergence. However, this text understands convergence on multiple levels, not just the three employed by P and M. This text is well-researched, with ample citations on a whole host of media topics. Each chapter has multiple ways that it tests the reader, with "Key Takeaways," "Learning Objectives," etc. And finally, the text features chapters on the history and development of key historical media, as well as key emerging media.

Some students find Pavlik and McIntosh a bit too transparent in their Marxist assumptions. While this text certainly introduces Marx-based theories about media, it seems to do a better job of contextualizing them among several other competing perspectives.

Some of the popular culture texts felt a bit dated--for example, opening the "Music" chapter (Chapter 6) with an extended case study about Colbie Caillat. Unfortunately, this is the nature of mass media studies--as soon as books come into print, they are out of date. But I have a hard time imagining my mass communication students being inspired and engaged by a Colbie Caillat case study. I'm not sure what the alternative is; but it seemed worth mentioning. Other examples are much more effective and successful. The historical examples from different types of media are well-chosen, thoroughly explained, and insightful. Also, this text discusses emerging media more successfully than any other texts I have used.

The style of this text is straightforward and scholarly. It seems to strike an effective balance between accessibility and specialized language. For example, key concepts such as "gatekeeper" and "agenda setting theory" are introduced early and applied in several places throughout the text.

Like Pavlik and McIntosh, this text uses the concept of "convergence" to explain several key phenomena in mass communication. Unlike P and M, this text understands "convergence" on more than three levels. Like P and M, this concept becomes the "glue" that holds the various topics and levels of analysis together. As mentioned before, this text is especially effective in that it introduces foundational concepts early on and applies them consistently across succeeding chapters.

On one hand, this text rates highly in "modularity," because I could imagine myself breaking its chapters apart and re-arranging them in a different order than they are presented here. This is in no way meant as a criticism. I routinely have to assign chapters in more conventional texts in a different order. The fact that the technology involved in delivering this text makes it easier to re-arrange is one of its best selling points. The reason I scored this as a "4" is because some of the chapters are quite dense, in terms of volume (not in terms of difficulty). Therefore, I could see students perhaps losing focus to some degree. I might combat this by making further breakdowns and re-arrangements within chapters. This is not a fatal flaw--but it does seem like a practical challenge of using this text.

As mentioned above, some of the chapters are quite dense, in terms of volume. Chapter One is such a chapter, for example. I could easily see Chapter One comprising two or three chapters in another textbook. Consequently, there is a likelihood that students would need some guidance as they read such a dense chapter; and they would likely benefit from cutting the chapter down into smaller, more easily digestible samples. On the other hand, the Key Takeaways, and Learning Objectives, will counteract this tendency for students to be overwhelmed or confused. They are quite helpful, as are the summarizing sections at the ends of each chapter.

I did not encounter any problems with interface. In fact, the illustrations, figures, charts, photographs, etc. are a real strength of this text. They are better than any other text I have seen at creating "symbolic worlds" from different forms of media.

The writing style is professional and free of errors.

This is a genuine concern for mass media texts. Media content is a direct reflection of culture, and today's culture is characterized by a high level of divisiveness. I did not detect any examples or samples that were outwardly offensive or especially controversial. But, perhaps, there is a slight bias toward "the status quo" in the case studies and examples--meaning that many (but certainly not all) of them seem to be "Anglo," Caucasian artists. Looking at the "Music" chapter, for example, some popular culture critics (and students) might lament that Taylor Swift is an exemplar. While this choice is undeniable in terms of the popularity of her recordings and concerts, some might hope for examples that represent stylistic originality, genre-transcending, and progressive ideas (Bruno Mars, Kendrick Lamar, Jay-Z, Beyoncé, Lady Gaga, etc.).

I have been using the same text for seven years (Pavlik and McIntosh). I have decided to adopt Understanding Media and Culture: An Introduction to Mass Communication. It is simply more thorough in its sweep of history and contextualization of culture, more multi-layered in its theoretical perspectives, and more rich in its examples and insights. This books is recommendable not just as an open source text, but as it compares to any conventional text. Students will benefit greatly from reading this text.

Reviewed by Hsin-Yen Yang, Associate Professor, Fort Hays State University on 11/29/18

Understanding Media and Culture: an Introduction to Mass Communication covers all the important topics in mass communication and media history. It also provides case studies, Key Takeaways, Exercises, End-of-Chapter Assessment, Critical Thinking Questions, and Career Connections in every chapter. Although this book does not provide a glossary, the comprehensiveness of the book still makes it a great textbook choice.

While the information was accurate and the discussions on key issues were supported by good references, it was odd to see the questionable formatting and quality of the first reference on page 3: Barnum, P. T.” Answers.com, http://www.answers.com/topic/p-t-barnum. --> First of all, Answers.com is not considered as a credible source by many scholars and the other half of the quotation marks was missing.

The major weakness of this book is the fact that many of the references were outdated. For example, on page 479, the statistics in the section, "Information Access Like Never Before," the cited reports were from 2002 and 2004. When discussing topics such as Net Neutrality, digital service providers, new policies and technologies, the urgency for updated information becomes evident. However, as the author correctly pointed out: "Although different forms of mass media rise and fall in popularity, it is worth noting that despite significant cultural and technological changes, none of the media discussed throughout this text has fallen out of use completely."

The writing in this book is very clear and easy to understand. The colored images, figures and tables should be very helpful in terms of student comprehension and engagement.

The framework and terminology are consistent throughout the book.

Each chapter can be assigned to students as a stand-along reading, and can be used to realign with other subunits should an instructor decide to compile reading within this book or from different sources.

Each chapter follows similar flow/ format: the history, evolution, economics, case studies and social impact of a mass medium, followed by Key Takeaways, Exercises, End-of-Chapter Assessment, Critical Thinking Questions, Career Connections and References. It was easy to navigate the topics and sections in this book.

I downloaded the book as a PDF and had no problem to search or navigate within the file. The book can also be viewed online or in a Kindle reader.

I spotted a few minor formatting or punctuation issues such as the missing quotation marks stated earlier, but no glaring errors as far as I know.

While it mainly focuses on American media and culture, this book contains statistics and cases from many countries (e.g. Figure 11.7), provides many critical thinking exercises and is sensitive towards diverse cultures and backgrounds.

Overall, this is a high-quality textbook and it contains almost all the key issues in today's media studies in spite of the somewhat outdated data and statistics. The strengths of this book are: Excellent historical examples, critical analysis and reflections, clearly defined key issues and in-depth discussions. Even when using the most recent edition of textbooks, I always research for updates and recent cases. This open resource textbook makes an outstanding alternative to those high-priced textbooks.

Reviewed by Hayden Coombs, Assistant Professor, Southern Utah University on 8/2/18

Perhaps the best quality of this text, Understanding Media and Culture is a very comprehensive textbook. I have used this text in my Mass Media & Communication course for two years now. Each chapter focuses on a different type of medium, starting with the earliest books and working its way up to the latest technological advancements in mass media. Other beneficial topics include: Media & Culture, Media Effects, Economics of Mass Media, Media Ethics, Media and Government, and the Future of Mass Media. These topics provide a solid base for a 100 or 200-level introductory communication course. They also were written in a way that each chapter provided sufficient material for a week's worth of discussion.

This book was written in a very unbiased manner. It is completely factual, and not much room is left for subjective interpretation. The discussion questions allowed multiple themes and schools of thought to be explored by the students. Because this book is intended for an introductory course, the information is fairly basic and widely-accepted.

My biggest issue with this title was that the latter chapters were not written with the same quality as the first ten or so chapters. However, that was the thought I had after the first semester I used this text. Since then, multiple updates have been written and the entire text is now written in the same high-quality throughout. Because this title is being constantly updated by its authors and publishers, the text is never obsolete.

Terminology is clearly defined, and students have little trouble finding definitions in the glossary. Because this text is written for an introductory course, there are not many intense or confusing concepts for students to understand.

Consistency rating: 3

As previously mentioned, the biggest struggle I've had with this text is the fact that the latter third was not written to the same quality of the first ten chapters. However, this issue seems to have been remedied in the latest edition of this text.

The modularity was the biggest selling point for me with this text. Our semester runs 15 weeks, the same number of chapters in this text. I was able to easily focus our classroom discussions and assignments on the chapter theme each week. The text also provides plenty of material for two or three discussions.

Organization/Structure/Flow rating: 3

The text starts by introducing some basic concepts like culture and effects. From there, it focuses on ten different types of media (books, newspaper, radio, television, etc.). The concluding three chapters go back to concepts such ethics and the future of mass media. While not a major issue, there was a major difference in the tone of the two types of chapters.

This text is available in .pdf, kindle, .epub, and .mobi formats, as well as in browser. While nothing fancy or groundbreaking in terms of usability, it is simple and all of my students were able to download the format that best suited their individual needs.

The text contained no grammatical errors that I noticed in the latest edition, a tremendous improvement from the first semester I used this text.

I did not find the content to be culturally insensitive or offensive in any way. It used a variety of examples from the world's history, but I found none of them to be inherently offensive. The subject matter and the fact that this is an introductory text probably assist with the cultural relevance because it is easy to understand, but the themes rarely get into "deep" discussion.

This is a fantastic text. Comparing it to other texts for my COMM 2200 Mass Media & Society text, this textbook was not only easier for my students to understand, but it was written and compiled in a way that made teaching the material enjoyable and easy. I have recommended this book to the other instructors of this course because it allows our students to save money without sacrificing anything in terms of content or learning.

Reviewed by Heather Lubay, Adjunct Faculty, Portland Community College on 8/2/18

Overall the book is comprehensive, covering everything from books to radio to electronic media & social media. Each topic has a descent amount of information on both the history and evolution, as well as where we are today (though, as tends to be the nature of the industry, the “today” piece gets outdated quickly. However, the text covers the topics that most other texts of this subject cover as well. I would have liked to have seen just a bit more depth and analysis, instead of the broad, surface-level coverage.

The text is fairly accurate, though, with the rapid rate of change, it’s difficult to be accurate shortly after publication. Using sites such as MySpace as an example, or only looking at movies put out through about 2007, impacts the accuracy as society has changed and moved on. Students in 2018 are given more of a historical perspective from when they were kids more so than having a representation of what media means in today’s world.

Relevance/Longevity rating: 2

This is a hard one because the historical information stands the test of time, but many of the examples fall short for today’s students. The Social Media chapter still references MySpace and Friendster as current platforms and only goes as far as FaceBook & Twitter. The author makes it a point to clarify when the book what published, which helps, but, again, it’ll be hard for a current student to see past that when they’ve grown up with the platform being discussed as “new” and have moved on.

The book is fairly fast-paced and easy enough to follow for lower level or beginner students. Examples are easy to follow and the key takeaway boxes and exercises help further basic understanding.

The chapters are fairly consistent, covering the basic history, evolution, and influence/impact.

The text can easily be used as formatted, or broken up into sections and moved around.

The organization is fairly straightforward. Earlier forms of mass communication are covered first, moving on to newer forms. Once students have a basic understanding of each form, they can then move on to topics like ethics, government, and economics, which need that basic understanding to fully grasp the larger concepts.

The book is easy to navigate with had no issues viewing the photos or charts.

The book is well written and free of any gratuitous errors.

The book does a good job of focusing on US media and society. It uses pretty typical examples, though it could incorporate more relevant examples to today’s students. Some case studies reference minority groups, but it would have been nice to see even more examples featuring minority groups. Also, Using YouTube as a “new” viewing outlet and discussing “The war between satellite and cable television” and DirectTV versus Dish makes the cultural relevance more towards older generations than younger ones.

Overall the book does a great job with the history of mass communication and society. It would work for any lower level course. However, the examples are fairly out of date and the instructor would have to present more recent and relevant examples in class.

Reviewed by Randy (Rachel) Kovacs, Adjunct Associate Professor, City University of New York on 6/19/18

I like the way that the author has broadened the scope of the book to incorporate so many aspects of culture, society, politics and economics that some people would be inclined to distinguish from the mass media, when in reality, all these aspects of contemporary life are intertwined with and influenced by media messages. It provides an historical retrospective but also shows how convergence and constantly-evolving technologies have driven the way consumers use the media and the way producers will use those technologies to rivet the attention (and influence the purchasing choices) of today’s consumers. The text incorporates the most salient areas of media’s evolution and influence.

The book appears to be objective and adopts a critical but non-partisan perspective. It presents data, including media laws and policies, accurately, and the cases it cites are well documented. The author provides sufficient references to support the facts he states and the conclusions he draws. Caveat--The media landscape and technologies are constantly evolving, so the book is accurate for its time of publication but needs to be updated to include new developments.

The way that the author integrates the historical perspective with current roles of social media in is a clear indication of its relevance. The dates may change, as may the celebrities, industrialists, spokespersons, and there may be geopolitical and cultural shifts, but the author’s explanation of theories/principles and the cases selected show how mass media power and influence are here to stay. The author advances the salient issues at each juncture and contextualizes so they we can relate them to current events. The book could be updated but is still has relevance/longevity.

The book is written in a language that is accessible to the layman/beginning student of mass media. The cases that are boxed, and key takeaways at the end of each chapter further distill what is already explicated. There are many concrete facts but a minimum of jargon and any terms used are adequately explained.

The framework and the terminology are consistent. There is also a consistent structure in terms of the visual layout and breakdown of each chapter’s sections, which makes the material far more accessible to students. It’s reassuring in a way, because students know where to go in each chapter for clarification of terms and restatement of the major media developments or areas of impact.

The book’s content is broken down within chapters into (pardon the expression) digestible chunks. The way each subsection is organized makes sense. The major sections where media, developments, policies, etc., are first introduced are illustrated by boxed portions and then reiterated clearly at the end of the chapter with small, chunked takeaways and questions that challenge the students to ponder issues more deeply. The modules are distinguished by color, typset, size of font, etc. which is aesthetically appealing.

The organization makes sense and the topics segue smoothly from one area of media focus to another. Also, the way the book opens with an overview of mass media and cultural is a good starting point from which to document specific historical eras in the development of communication and to transition from one era of communication to another within a context of technology, politics, industry and other variables.

: The text does not have any interface issues, as it is easy to navigate, all illustrations, charts, and other visuals are clear and distortion-free. All features of the book are legible and all display features are legible and functional.

The book is grammatically accurate and error-free.

The book represents a range of cultural groups in a sensitive and bias-free way. Its discussions of media with regard to both dominant cultures and various minority cultures is respectful, bias-free, and non-stereotypical. It is culturally relevant and inclusive.

For many years, I have used a textbook that I have regarded as very high quality and comprehensive, but as it has become increasingly expensive and out of reach financially for many of my students, I find it hard to justify asking my struggling students to add another financial burden to them. Why should I when they can use this OER textbook? I am seriously considering using Understanding Media and Culture in future semesters and recommending it to my colleagues.

Reviewed by Stacie Mariette, Mass Communication instructor, Anoka-Ramsey Community College on 5/21/18

This OER is very comprehensive. I used it for an online course as a PDF textbook. While this discipline evolves faster than any other communication area I teach, this book remains solidly grounded in a wide variety of resources and foundational... read more

As I use it more often, I find myself wanting to update it only for examples regarding the evolution in technology/platforms and the societal/cultural changes that result – not to change the historical content of what is already there.

I haven't come across any factual errors at all.

The examples in this book are often dated. This is my one very mild criticism of this text and only reflects the nature of the information. As we grow into new media and adapt as a society to those delivery methods, it's only natural. I actually use updating the examples in the textbook as an assignment for students.

Some closer to up-to-date examples that I have added into my teaching of the course and to the materials are:

"Fake news" and social media's role in spreading it, especially in terms of Facebook and the last election

Data mining and algorithm practices

"Listening" devices and digital assistants, like Siri and Alexa

The subculture of podcasts

Business models – both for artists and consumers – of streaming services across all media

The chapter on convergence is short and could be a text all on its own. Information relating to this topic is sprinkled throughout the book, but the concept itself is so important to analyze that I like to think about it on its own. This is an area I will beef up in future semesters for my own students.

Streaming services and online journalism overall are two areas that I have noted to update and reference in nearly every chapter.

The short segments and snippets of information are very helpful and clear for students. It's all very digestible and the vocabulary is at just the right level.

The discussion questions and further reading/information are placed in logical places in each chapter. And this consistency helps the reader understand their prompts and what to do next – and additionally the important topics to take away.

I love how this text can be reordered very easily. Since it's so comprehensive, I actually omit a couple of the chapters (radio and magazines) to take the info at a slower pace and have never struggled with remixing other chapters.

In fact, I plan to blend Chapters 11 and 16 (Social Media and New Technology) for my upcoming semesters and have no doubt the text and materials will allow for this.

I like how the chapters primarily focus on one medium at a time. From there, the structure of evolution, technological advancements, social/cultural implications and then a look at trends and emerging controversies helps to build to exciting and relevant discussions and for students to have the backdrop to bring their own insights.

The interface is reliable and easy-to-use. I deliver it as a PDF within my online classroom software. I have never had issues with students downloading and reading on multiple devices – or even printing and referencing – based on their preferences.

This book is very concise and grammatically crisp. It's clear that the authors of the version I am using valued precision in their language and it helps students to see this resource as high-quality!

Cultural and societal relevance are important in this discipline and it's purposely covered in each and every chapter. However, as I mentioned earlier, the examples are outdated in many cases. So I layer this into class discussions and supplement with further readings and assignments. Some of the topics I add are: Representation in entertainment media, like TV and film, for example how the #MeToo movement gained ground based on the film industry Ways that online gaming culture is permissive of the communication of –isms, like sexism and racism Ways that social media and screen time are impacting attention spans, interpersonal relationships/communication and child development How citizen-sourced video and reporting differs from that of trained journalists and how important the differences are The section on media effects is helpful and thorough. I always include a key assignment on this topic. It's also an area I plan to emphasize even more in the future – particularly the idea of tastemaking and gatekeeping. There are many crossovers to many examples that are more up-to-date than the version of the text I have been using.

I love this book and it is on-par with many others I have reviewed for my Introduction to Mass Communication class.

Reviewed by Stacy Fitzpatrick, Professor, North Hennepin Community College on 5/21/18

The presentation of the historical context of media evolution in the US is clear and reasonably detailed, providing a good foundation for an introductory level course. As other reviewers have mentioned, this text was published in 2010 and is out of date in multiple areas, particularly with respect to media laws and regulation, social media, and newer developments of technology (e.g. preference for streaming television, technological and social advancements in gaming). Beyond needing updates to reflect newer advancements in media, this text would benefit from more attention to global media structures, including how they vary across political systems and how they impact how citizens use media to communicate. Additionally, an index and glossary would be helpful for navigation.

I am basing this on the fact that this was published in 2010. Considering the publication date, the factual content for that particular time frame is presented accurately, clearly cited, and reasonably unbiased. There is perhaps an unintended gender bias in the presentation of some content (e.g. Sister Rosetta Tharpe is absent in the music section, as is Nina Simone), though this could be a result of a broader, societal gender bias. Images, charts, and graphs are used well and clearly explained.

The historical content is fine, but the text is almost 9 years out of date and there is a great deal of content that needs to be updated. Making the necessary updates may take some time since the content is tightly written and there are reflections of the date of publication throughout the examples used, images presented, and media discussed. Using this text in class would require the instructor to provide supplemental content on newer advancements in media.

This text is appropriate for a freshman/sophomore level course and reads well. Important terms are defined and each section includes an overview to set a context and clearly defined learning objectives.

The language, terminology, and organization of the text is consistent throughout. This makes moving between chapters easy since they follow a similar format.

With a few exceptions (chapters 1 and 2), the text lends itself well to using different sections at different points. Where there are self-references, there is typically a hyperlink to the section referenced. This is useful for those reading the text online, but less useful if printed sections of text were used.

Chapters 1 and 2 clearly present a structure that the following chapters follow. The only chapter that seems to really break that flow is Chapter 16, but that is more a result of the text being so out of date than a significant change in structure.

I found the online reading format the easiest to navigate. The Word and PDF versions are somewhat more awkward to navigate without using a search keyboard function.

There were a couple minor typos, but no significant grammatical errors that might impact comprehension. The readability assessment (via MS Word) indicated a reading grade level of 13.1, which is consistent with lower division college coursework.

There is a heavy focus on US media, which is acknowledged early on in the text. More integration of content related to global media would strengthen the text. There should be more examples that integrate multiple forms of diversity, such as gender, ability, age, sexuality, race, and ethnicity. Additionally, without an update, younger students may not understand some of the references. For example, younger students in 2018 don’t know Napster as a file-sharing site since it has rebranded to become a streaming site more similar to Spotify.

It would be great to see an update in the content of this text for 2018 that also incorporates broader perspectives of multiple identities and global perspectives. As is, I would use sections of the text and supplement that content with more current examples and issues. Balancing the cost of textbooks in this field with the quality and recency of the content is an ongoing challenge.

Reviewed by Craig Freeman, Director, Oklahoma State University on 5/21/18

The book covers all of the topics you would expect in an inter/ survey course. read more

The book covers all of the topics you would expect in an inter/ survey course.

The book does a good job of accurately surveying mass communications. Good job sourcing information.

The most recent citations are from 2010. That's just too far in the past for a rapidly changing subject like mass communication.

The book is clear and easy to read. Well written.

The book is internally consistent, with recurring sections.

The book does a good job breaking the information down into smaller reading sections.

The book follows the standard structure and flow for introductory texts in mass communication.

The interface is fine. It's a big book. Would appreciate active links to help skip chapters.

No grammatical errors.

I would appreciate a little more diversity in the examples used.

Really wish the authors would update this a bit. It does a great job with the history. Needs updating on the modern issues.

Reviewed by Kateryna Komarova, Visiting Instructor, University of South Florida on 3/27/18

Comprehensiveness rating: 2 see less

The title Understanding Media and Culture: An Introduction to Mass Communication suggests that we are looking at a comprehensive introductory text. In my opinion, this book is the most valuable to GE courses and entry level courses across Mass Communication disciplines, as it does excellent job in covering the fundamentals of mass communication. The textbook is heavy on history, which is a great thing.

I found the content to be accurate and, to my knowledge, error-free.

In comparison with other introductory texts, the content is generally up-to date with current trends. Yet, the distribution of attention towards various forms of media tends to be slightly disproportional. For instance, print magazines alone (essentially, one of many forms of print media that’s experiencing a stable continuous decline) receive as much attention as all forms of social media altogether. As a communications practitioner and an instructor, I was pleased to see information on the merge of paid media and social media (content partnerships and native advertising being the prime examples, albeit these particular terms were not used by the author). On the other hand, some aspects of current media landscape (such as the role of mobile apps, for instance) could be explored further.

The text is written in simple, easy-to-understand language and would be appropriate to non-native speakers.

I find this text to be consistent in terms of terminology.

The book is organized in rather non-trivial fashion, without a unified approach to chapter categorization. Yet, I found this approach refreshing. I loved that the author suggests specific learning outcomes for each section (example: "Distinguish between mass communication and mass media"), key takeaways, and practical exercises. The question bank provided as part of this textbook is a treasure box! It’s a great resource that allows me to have more fun in the classroom by asking interesting questions that wake up the students and generate some amazing answers. The chapters are designed to be used selectively, in no particular order. Big plus.

The content is presented in chronological pattern: from past to future. Other than that, I did not trace much consistency in the material. For instance, Media and Culture is followed by Media Effects, after which the author switches to reviewing various forms of media (Radio, Magazines, Newspapers, etc.). The chapters to follow are Economics of Mass Media and Ethics of Mass Media. I find to be an advantage, as the subsections may be used selectively, and the order may be easily redesigned.

I read the textbook online via the Open Library portal http://open.lib.umn.edu/mediaandculture/chapter/1-2-intersection-of-american-media-and-culture/ . I found the navigation to be very easy. Good interface.

I did not spot any grammatical errors.

I found the content USA-centric. For this reason, it may have limited application to global courses (such as Global Citizens Project courses offered at USF). The majority of case studies are drawn from the United States; much attention is paid to the history of mass media in the USA and current U.S. legislation safeguarding privacy. In today’s increasingly globalized culture and economy, a broader outlook on media and culture may be expected. More international references would enhance the points made by the author. It is important for students to understand that major trends in mass communication, such as convergence of the media, are not unique to the United States. Similarly, increasing media literacy should be positioned as a global, rather than national, priority.

It is a great introductory text that provides a current overview of various forms of media and highlights the role of mass communication in society.

Reviewed by Joel Gershon, Adjunct Professor, American University on 2/1/18

The book should be the perfect fit for my course Understanding Media, as it indeed covers all of the subject matter of the course. The problem is that it is not up to date and therefore detracts from the complete picture that each one of these topics delves into. For example, the music section poses the question: How do the various MP3 players differ? It refers to Spin as a magazine (it ceased its print operations in 2012). Or in the section on television, there is a question about the war between satellite and cable television. I think the winner of that is neither, as streaming a la carte is what people are talking about in 2017 as the direction TV is going in.

This criticism, of course, is obvious and easy. It's actually an exhaustive book that does contain a wealth of useful information, although no glossary or index – glaring omissions. Unfortunately, it suffers from not being up to 2017, when we are living in an up-to-the-second world. Especially in a field like media studies, it makes this book unusable in its entirety. The chapter ethics and economics aren't as badly out of date.

It is accurate for the time it was written in, but in today's world, much of this doesn't hold up. Just one example, there is the claim that Reader's Digest has the third highest circulation of all magazine, which is no longer the case in 2017. It is not in good shape. Even the references to "President Obama," obviously show that it was written a different era with a very different landscape for the media world. Still, the great majority of it appears to be represented fairly, albeit in an outmoded way. It's just that the trends and latest innovations in 2010 won't even make sense to a college freshman whose frame of reference likely came about three years after

Content is up-to-date, but not in a way that will quickly make the text obsolete within a short period of time. The text is written and/or arranged in such a way that necessary updates will be relatively easy and straightforward to implement.

Obviously, this is a major weak link of the textbook. I've already commented on this, but I think any time the textbook is referring to MySpace or Friendster in a way that suggests that they are viable social media sites, it makes itself into a caricature of an outdated guide.

No real problem here. The book is fully clear, well-written and to the point. The problem is that the point was made in 2010. That said, there is no glossary or index.

Again, this book is solid as a foundational textbook to get students the basic information regarding the history and meaningful cultural highlights of different forms of media. From radio to media and democracy, the lessons are thorough and contain useful and important information. It's just that some of this information is outdated.

The book is quite easy to read, the organization is fine and reads like any typical textbook. I will say that there have been advancements made, and that this book should be more interactive and multi-media if it wants to keep up with the Joneses.

It's fine in this regard. The writing itself is great and it's broken up nicely. Very readable and I wish it was up to date because it's a solid textbook.

This is fine for 2010, but there is no interactivity or video or things to let us know that we are in 2017.It's basic and fine, but nothing stands out are particularly innovative.

Written well. No issue here at all.

Again, this is the fatal flaw of the book. It's just not going to be persuasive if it doesn't manage to maintain the sensibilities of someone in 2017. Between politics and technology there have been extreme shifts in the media in the past few years and a book like this would need to be updated monthly to stay relevant. It could work as a historical document to see how people thought in 2010, but not really as a relevant book today.

Reviewed by Suzi Steffen, Instructor, Linn-Benton Community College on 6/20/17

This text is rather comprehensive, at least for the time it was published. It covers pretty much any topic one might want to cover in a Media and Society or introductory media and communications class, though for those interested in topic areas like journalism, advertising, and public relations, this textbook is much more about the history of those areas than how they are surviving and functioning today (and that's fine with me; I can update with information that's more recent). There is no index (at least in this form), and there is no glossary, but terms are well-defined within each chapter and within pull-out boxes as well. It would be incumbent upon the professor and students to keep some kind of glossary or wiki, which is not a bad idea for a media history/media and society class in any case.

Often in a textbook for media and society or media history, one can see the author's world view shining through - is capitalism too much for media? Should media creators take an "unbiased" view of the world? How is a medium influenced by the way it is funded? The book has a solid conversational tone and is authoritative on its history, but I might prefer a little more analysis of media ownership and consolidation. As for accuracy, yes, the facts seem quite accurate to the best of my knowledge, and the text is written (and edited) by someone with a journalist's view of language - it's useful, it's best done well, and occasionally it lends itself to some essayistic moments.

I'm not sure there's a way to write a book like this that can keep it relevant past the month in which it was written, much less seven years later. Many of the examples the author uses to illustrate music, social media, books, newspapers (some of which don't exist anymore), magazines (ditto), etc., are simply no longer relevant. It *is* interesting to read about what the author thought was relevant at the time, and what the author thought would last, but this kind of book needs almost constant updating during this time of constant media churn and reinvention. I am giving it a 3, but really it's more like a 2.5 as any instructor would need constantly to find new examples that students will understand.

The book is accessible and lucid, absolutely. As with any history of a large discipline, the book contains a fair amount of jargon that is relevant to each portion of the subject matter covered, and the book is good about not only giving context and giving definitions but also setting aside boxed or special areas for examples that reinforce what it's talking about. The key takeaways at the end of each chapter, added to the exercises that are meant to help the students understand what's important in the dense historical detail and context of each chapter, are helpful as well.

This book is wonderfully consistent with terminology and the framework it employs to discuss media across a wide range of areas. From the beginning of each chapter, where an introduction lays out the plan of the chapter, to the end of each chapter - where a box of "key takeaways" explains what students should have learned - the book keeps a tone of very slightly amused detachment, mixed with earnest passion for certain topics, throughout, which is utterly consistent with how media people actually live their lives.

The text is definitely modular. It's written in a way that could easily be read in various chunks as the instructor or professor wishes to assign it. Blocks of text are broken up with images, a few charts, and a few stories that are boxed and that illustrate examples of topics within the chapters.

I think it's hard to know how to organize a media history/media and society textbook. Do you start with the printed word? But then, what about radio? Should radio come closer to magazines or closer to movies and TV? In that case, where do audiobooks and podcasts go? So, even as any instructor would grapple with these sorts of questions, the book is laid out in a way that made sense to the author - and that can be ripped apart and reassigned by each instructor. There's no need to read economics at the end of the course; perhaps, despite the fact that it's at the end of the book, it should come at the front end of the course - and because it's modular enough for flexibility, that's not a problem.

I read the textbook on my desktop Kindle and on my phone. It's not super with the images or charts, and the boxed questions and exercises at the end are especially hard to take. This interface could use a little attention, at least in the Kindle applications area. It's not impossible; it just needs some work.

No errors that I saw, though a textbook without at least a few grammatical errors is a miracle.

It's hard to say whether it's culturally insensitive or offensive because, well, I'm a white woman. I note that it talks about U.S. media's places (different for advertising, PR, newspapers, etc.) in the Civil Rights Movement and to a certain extent it discusses the ways that major media have been controlled or run by men, by white men, by straight white men. But I don't think the text addresses any of these things in the depth or with the clarity of thought that one would like to see in 2017. (Yes, it's a 2010 text.) In gaming, in Twitter discussions, in talking about newspapers or online media, the book is simply behind the times, and that makes it culturally problematic if not insensitive.

I am reluctant to adopt this book with students who really need more recent examples to make sense of how things are going now, today, in 2017, though it's also relevant for them to learn the history of how we got here (if anyone can really understand that at this point). I'd love to use a newer edition if one comes out. I might use or adapt parts of it along with other readings for my media and society class in 2018, but I'll be cautious about that.

Reviewed by Shearon Roberts, Assistant Professor of Mass Communication, Xavier University of Louisiana on 6/20/17

The textbook hits the standard areas for a typical Introduction to Mass Communication course: evolution of media industries, media and society, media effects and theories, media law and ethics, the digital age, and global media. It is comprehensive in its case studies and historical events that are typically taught for an Introduction to Mass Communication course. The text is current as there is a chapter on the Internet and Social Media and several chapters look at the digital revolution as it impacts media industries. There is no glossary or index, however. Instructors will have to rely on chapter sections for lesson planning.

From Gutenberg to Apple and Google, the book provides content that is accurate on the development of media. The author thoroughly cites case studies and provides questions for critical thinking about issues affecting media industry trends and on the impact of the media on the public. Statistics, data and trends are appropriately cited for reference check on accuracy of estimates.

Case studies and citations stop at 2010. However, the author makes projections for media trends up to 2020. Since media industries are most vulnerable to yearly change, the information in the book holds for now, although the positions of some of the digital media players have changed since the book has come out. However, the author is careful to clarify dates for events that were transformative for media industry changes, at the point in which these events occurred, even if changes have occurred since the book was published in 2010. Within another 5 years, the book is likely to need some updates to digital age developments.

The language used is accessible for a first year student taking an Introduction to Mass Communication course. The theory, ethics and law chapters are broken down for a 1000-2000 level course. The case studies and critical thinking boxes are useful in helping to break down and apply a wealth of information in the text for students to conceptualize the importance of historical events and their social or cultural impacts.

The author is clear on defining media industries, digital convergence and common theories in mass communication.

Instructors can easily use the text as is, or piece together sections on history, digitization and media and society from several chapters, depending on the instructor’s preference.

The text follows the standard logic for media introduction courses moving students through print, to audio, to film to broadcasting and to the digital age. The author wisely weaves in the impact of new media in each of these phases of evolution so the student does not have to wait until the end of the text to see the impacts of the changes of the industry, as they understand media to be today.

While the interface is simple, all graphics and text boxes, as well as assignments are designed similarly throughout the text and easy to locate as an e-text for student work.

Sentences throughout the text are concisely written and the text appears thoroughly proofed.

It was important for me to see examples of race, gender and global dimensions of the media represented as case studies, assignments and critical thinking in the book. From using The Birth of a Nation and its outcry from the NAACP in the film chapter to the rice of BET, or the understanding stereotyping of African Americans in TV, this book has relevant examples that relate to minority students or for a Historically Black University. I did however see no mention of the black press, or the work of alternative media in introduction narratives left out of the mainstream media. However, most introductory media textbooks, also leave this out. If this is an interest area for diverse students, unfortunately instructors are left to source that information themselves. But the most prominent case studies for diverse groups can be found in this text.

It was surprising to discover such an open-textbook as the cost of Intro to Mass Communication textbooks are typically over $100 and students only use this textbook once. This is a valuable resource. I hope the author would consider updating in a few years for recent developments and important case studies such as the #BlackLivesMatter movement and President Donald Trump's election for an examination of media literacy.

Reviewed by Gwyneth Mellinger, Professor and Director, School of Media Arts & Design, James Madison University on 6/20/17

The book covers all of the subject areas typically touched on in a media and society survey course; however, the discussions within chapters would benefit greatly from more examples and, in some cases, greater detail in explanation. I often thought the content was pretty thin. This was particularly so in Chapter 2, where the treatment of effects theories and media studies controversies required much more supporting discussion to be relevant to undergraduates. The greatest weakness in the text, and the specific reason I would not adopt it for my own course, is that the book's engagement of social and digital media is, for the most part, woefully out of date and separated into discrete chapter segments, rather than synthesized into discussions directly. A text on media and society assigned in 2017 cannot be comprehensive if it does not engage media in a way that makes sense to the students who are reading it. There is no index or glossary.

Content Accuracy rating: 2

There is no bias in the text and historical detail appeared to be represented accurately. Again, I question whether a book written in 2010, which lacks full context for the subject matter, can accurately reflect media and society for students in 2017. For example, in 4.6, online journalism is represented as blogs and online newspapers. That is an accuracy issue for today's students.

Relevance/Longevity rating: 1

The book is out of date. Examples and context stop at 2010, and many cultural references will not resonate with current students, which is the point of examples and cultural context. The Beatlemania example early in the book and the references to 2009 in the opening paragraphs advertise the lack of currency. Significantly, the book cannot be easily updated in its current form because its approach and perspective are also out of date. By failing to integrate social media and the Internet into the central narrative, the book emphasizes legacy media in a way that is no longer relevant.

The book is clearly written, though additional examples and context would be helpful in places.

The narrative is consistent in terminology and framework.

The modularity of the text would allow use of sections of the text at different points in a course.

The content in Chapter 11 on evolution of the Internet and the impact of social media belongs near the beginning, not the end, of the text. In addition, the impact of media economics on content is downplayed by sequestering this discussion in Chapter 13. Each chapter on legacy media ends with a section on the impact of new technology on that medium. These sections feel tacked on.

There were no interface issues. That said, the book lacked the visual engagement used by many media and society texts to capture and maintain the interest of today's students.

The text is clean. Of note, the text correctly uses "media" as a plural noun. There was, however, this awkward subheading at 1.2: "What Does Media Do?"

The text is not culturally insensitive. It acknowledges cultural imperialism and the digital divides as issues. There are examples of media content that would be deemed inclusive. That is not to say, however, that today's students would find the examples culturally relevant. The book is written from their grandparents' perspective.

Without irony, the unknown author of the text includes in a media literacy checklist and discussion (1.8) the advice that students should scrutinize the identity and credentials of authors. This same section warns against anonymous online sources. This is a conceptual problem with this particular online text. It's not clear why the author wants to distance her/himself from the project, but it creates a question of credibility.

Reviewed by Elizabeth England-Kennedy, Assistant Professor, Rhode Island College on 4/11/17

The book is extremely comprehensive. Not only does it include all forms of mass media, but it intelligently and thoughtfully addresses critical concepts such as ethics and culture. Photojournalism (especially the work of muckrakers such as Jacob Riis) is not included, and investigative reporting is too briefly addressed, although including advocacy journalism was a sound choice. There is no index or glossary. The lack of a glossary is surprising since key words are already highlighted in text.

The text is accurate and information is fairly represented and free of personal bias. No errors were found.

This is the most concerning characteristic of the book: The information has long-term relevance and is written in a highly readable way that will enhance its longevity. However, the examples tend to be temporally but often not generationally up-to-date and positioned for longevity. For example, beginning the book with an example that is this far removed from today's undergraduates' world may lessen their interest in reading further, as opposed to beginning with more focus on Beatlemania and then moving to an example of an artist/group more accessible to their generation. Additional examples used later in the book are drawn from recent time frames, but may not be commonly accessed. This is the only aspect of the book that would make me hesitate to adopt it.

The text is written in lucid prose that is accessible to introductory readers, though individuals whose first language is not English could have some difficulty reading independently. However, with minimal pre-reading guidance (e.g., introducing concepts that will be included in an upcoming reading assignment, instruction on how to use the Learning Objectives and Key Takeaways to best effect), these readers should also be able to understand and effectively use the text. Context is given for jargon/technical terminology, and definitions are generally clear.

The text is consistent in format, terminology, framework, and tone.

Modularity rating: 1

The book is clearly divided into relatively short subsections that are logically sequenced. Longer sections tend to be broken up by images, all of which are relevant examples of concepts being discussed in the section. The Learning Objectives, Key Takeaways, End-of-Chapter Assessments, and Critical Thinking Questions sections for each module are useful for guiding student reading and could be easily adapted into learning exercises and assessments such as discussions, quizzes, exams, and writing assignments. The Career Connection section at the end of chapters is innovative, and could be especially useful for students considering majors in communications-related fields. Chapters and sub-sections could be used independently in reading packets or rearranged without their being weakened, making it a more flexible resource or textbook.

The organization is clear. Sections are clearly labeled and of approximately the same length. Titles of chapters and subsections are logical and clear. Topics are logical laid out: An overview of foundational concepts in the first two chapters frames the remaining chapters effectively. The remaining chapters are organized in a historically-logical order. This structure is well-designed to helps readers better understand how an increase in the number and forms of media channels impacts audiences and media effects. Chapters are also internally well-organized and could be used separately as desired.

There are no interface difficulties. Pictures are clear and free of distortion. Navigation is clear and easy to use. Because the sections are short, reader interest should be maintained despite the low level of images included. Multiple platforms can be used.

The text contains no grammatical errors. A nice touch by the author is to clarify and model the correct grammatical usage of "medium" vs "media."

No cultural insensitivity or offensiveness was found. The author acknowledges that the book is focused on US media and includes culturally diverse examples. Topics such as cultural imperialism are addressed specifically. Related topics such as cultural appropriation and marginalization are referenced, although these specific terms are not necessarily used (e.g., the latter is addressed in the chapter on music as an outcome of the oligopoly in music without using the term "marginalization"). This could have been taken further; for example, the section on "Issues and Trends in Film" does not address concerns about "whitewashing" or lack of diversity in Hollywood movies and the section on Independent films does not address movies that countered these trends (e.g., the work of Spike Lee and Robert Rodriguez). However, the book lays the groundwork necessary for a discussion of such concepts in class or for use of supplemental materials that build on this text.

The book could be used as a stand-alone for an introductory class. Sections could be used in more advanced classes as supplemental readings or in reading packets.

Reviewed by Kevin Smith, Instructor, Chemeketa Community College on 2/15/17

This text is comprehensive in its coverage of all major media platforms and key general concepts related to mass media. There are times (e.g. Chapter 2: Media Effects) when some concepts are defined vaguely, but this is not indicative of the book as a whole. There is no glossary nor index, but most terms are defined well in the context of each chapter. The review sections at the end of each chapter would also help students organize and recall relevant information as they study. There is little that I feel is missing from this textbook that would be appropriate for an introductory mass media course.

A neutral, objective tone is struck throughout, with no apparent errors or gaps in coverage of major media and concepts. To the best of my knowledge, I believe this text to be free of errors, although it needs to be updated.

While this text is outstanding in its coverage and clarity, it is now seven years out-of-date and needs to be updated. A text on mass media should reflect the most recent changes in technology and economic and political contexts.

This text appears to be written for college freshmen and sophomores. Perhaps even upper-level high school students could successfully grasp its content. Most jargon particular to the discipline is defined and illustrated thoroughly.

The text is rigorous throughout, with even weight given to all concepts. There are occasional overlaps between chapters in coverage of terms (e.g. media bias), but nothing that seems sloppy or out-of-place. The historical overview of media technologies blends seamlessly with the beginning and later chapters on media studies concepts.

The structure of the book lends itself exceptionally well to divisibility, while demonstrating the ability to maintain its own internal coherence. The text seems designed for a semester-long course, so those looking to use it for quarters or with students whose expected reading loads might be lighter will find it easy to pull only what they need from it without sacrificing clarity.

The book's content is designed expertly, with introductory chapters leading into a chronological overview of the history of media technologies (books to social media). The text concludes by expanding its scope to cover more general concepts (e.g.media ethics) that scaffold on previously discussed ideas. This framework would greatly aid students in comprehending central ideas in media studies as they relate to specific technologies and historical periods.

I did not notice any problems in this area, although a cover might be helpful in identifying the text.

I noticed some minor typos, but nothing that reflects poorly on the high level of discourse and mechanical aspects of the text.

The text employs examples that would be helpful to students as they seek to understand mass media in diverse settings. There was no inappropriate content noted. The text is respectful and inclusive in this sense.

The end of chapter summaries, takeaways, exercises and critical thinking questions are outstanding and would serve any instructor well in designing a course with relevant activities tied directly to the text, while also pointing to other sources in contemporary mass media. The book is an invaluable resource that deserves the attention of a group of scholars who can update its content in order that it be more relevant to students.

Reviewed by Amy Rawson, Professor, Century College on 2/8/17

Interestingly, this textbook was more comprehensive than I originally expected. The text covered all of the major areas to be expected in a mass communication textbook: Media, Books, Newspapers, Magazines, Radio, Movies, TV, Games, Internet & Social Media, Advertising & PR, Economics, Ethics, Media & Government and the Future of Mass Media. However, I am giving 4 stars because there is no index or glossary which I deem especially important for a mass communication textbook.

The textbook is accurate. I also like the chapter on the future of mass media. The textbook seems to be error-free and unbiased. Each chapter section includes a few learning objectives and a few "key takeaways." There are also exercise questions at the end of each chapter section. The examples in the exercise questions are dated. It would be nice to have more current examples. However, I would prefer questions about the chapter at the end of the entire chapter or at the end of each section in addition to the objectives, takeaways and exercises. Thus, I am giving 4 stars for outdated examples.

I agree with another reviewer that the examples are a bit dated (which quickly happens in a mass communication textbook). This affects the credibility of the overall text. For example, in Chapter 16.1 Changes in Media Over the Last Century the example box titled "Pay-for-it Content: Will it Work?" is from 2009! This is 2017.

The textbook is written in clear and easily understood language. It is accessible and comprehensible. It would be nice to have a glossary for students for the mass communication jargon.

The text seems to be consistent with terminology and framework. However, the textbook seems dated overall and new terminology and frameworks could be added to make it more relevant and interesting for students.

The modularity of the textbook is good. It is easily and readily divisible into smaller reading sections that can be assigned different points within the course. I like the division of the chapters into subsections.

The organization/structure/flow of the textbook is good. However, I agree with another reviewer that the textbook is too lengthy. In my opinion, 647 pages is too long. Although I have used other textbooks of similar length, there are many more vivid visuals for students and more timely information and examples.

The text is free of significant interface issues that may confuse or distract the reader.

The text contains no grammatical errors.

The textbook examples for cultural relevance could be more current.

Thank you for this opportunity. I like the idea of an open textbook and would be interested in doing more reviews in the future.

Reviewed by Tom Grier, Professor, Winona State University on 8/21/16

The book is comprehensive, covering the study of media and its intersection with culture, through an in-depth look at each of the major mediums, then content considerations, economics and ethics issues related to the mass media. read more

This text seems accurate. I didn't find glaring errors of fact in my reading. Though, as I will mention later in my review, many of the examples used in the text are now several years outdated, when more recent examples or case studies would be more relatable to a youthful college audience.

This is one area where I find some difficulty with the book -- as is the case with every text of this type. The world of media is ever-changing and fast-changing. The historical information about the invention, early adoption, and improvements to the mediums of mass communication (books, newspapers, radio, television, etc.) are fine. A few of the examples and case studies used to describe events related to the media feel outdated. This is most apparent in Chapters 1 and 2 on Media and Culture and Media Effects. Examples from 2010 and 2011, are not relative to college freshmen in 2016 who were in middle-school and probably not paying attention when these things happened. Therefore, the longevity of this text is limited, unless it is updated-revised at least every third year.

The author's writing style is informative and engaging. While the writing is clear and understandable, the chapters often get too deep and try to cover anything and everything in a particular content area-- or sub-chapter, when a couple statements and one case study would suffice.

I found the chapter formatting, writing style and narrative flow to be consistent from chapter to chapter.

Here, the text shines. First, it is broken into chapters that are easily identifiable and segment the content nicely. Within each chapter are several sub-chapters that allow readers to read and absorb material in smaller chunks. This will be helpful to the learning styles of younger people today.

For the most part, I agree with the author's organization and flow. My only thought, and it's just an opinion, is: Chapter 2 on Media Effects should be moved to Chapter 14, so it comes after the major media categories and then the economics of the media, and just before the ethics and law of media. To be fair, most mass media textbooks follow this same organization. When I teach the class, I always move the "effects" chapter to later in the semester, after I've discussed the media types, their history and development.

A second thought, I'd hold the footnoted source credits to the end of each chapter, or preferably to the end of the book. The sometimes very long list of footnoted sources between each sub-chapter stops the flow for readers that may wish to read a full chapter.

I downloaded the PDF version, and read that. I found the interface cumbersome. I wish paragraphs were indented. I wish it was easier to navigate from chapter to chapter or topic to topic without scrolling, scrolling, scrolling. I wish there was an easy way to get to a Table of Contents with one click, and then from there click topic-anchored reference points to skip to specific information sought.

I wish it had an index that had anchor links. I realize this would be a large undertaking to create and connect the links. But that would make searching and finding specific information easy and fast. If I was a college student studying for a chapter quiz or exam on the foundations of radio, I might like to scoot to the Index and click on Radio-Invention, or on Marconi and be led instantly to that content within the text.

And, probably an easy fix, I wish it was more evenly spaced. In my opinion, there should consistently be two spaces between sub-headed sections or sub-chapters. In most places in this text, a new, bolded subhead appears on the very next line under its preceding paragraph. This looks jammed and messy.

I have no problem with the grammar. It's clear, easy to follow, and written to be accessible to a college audience. I used the Gunning Fog Index to test several paragraphs throughout the text and found some of the writing aimed at an audience with 10-11 years of formal education, and in a few cases more than 15 years of education. The average of my selected readings came out at 12-13 years of education -- perfectly appropriate for a freshmen-level college course.

Other than my hope for some more recent case studies and examples, I find the text to be culturally relevant. A few of the examples mention MySpace, Napster and Kazaa as internet entities with which the audience should be familiar. In reality, today's college freshmen know almost nothing of these three internet terms. In my current Media and Society class, less than ten percent of the class had ever had a MySpace account. They had heard of MySpace, but really knew nothing. No one in the class knew about Napster or Kazaa first-hand... perhaps had heard of them in another class.

This text feels too long. This is a difficult thing. The author includes everything he feels needs to be discussed in each chapter. But it's too much for a college freshman-level class. Example: The chapter on Music is more than 50 pages long. While I agree college students should be able to read this much each week for a class, I'm confident they will not read this much. I believe the text could be condensed quite a bit while maintaining the content necessary to make it meaningful at the freshman level. It's a complete text, and would make a nice reference tool -- with better indexing and searching links within the body -- but it won't work at an entry level to the study of media. At my university, the "Media and Society" class is a 100-level course, used as a general education class that can fulfill a categorical credit-need for all students, not just Mass Communication majors. And we consider the class a "feeder" to the major, introducing students to the study of media and hopefully igniting an interest in students to consider a career in media, and therefore declare a Mass Communication major. This book, with its depth, might be more appropriate in an upper-vision media studies course.

Reviewed by Nick Marx, Assistant Professor, Colorado State University on 1/7/16

The text is a broad and comprehensive overview of all relevant forms of media today. Although this is a common organizational approach for survey textbooks of media, this particular volume utilizes it in a particularly clear and cogent manner. Instructors approaching media and culture from a mass comm/journalism standpoint are much likelier to find this text useful than are instructors who approach media and culture from a perspective emphasizing critical/cultural studies, historical poetics, and/or aesthetics.

Content is accurate and strikes appropriately diplomatic tones where contentious issues might arise that concern social and cultural power.

The text is quite relevant for the most part, but by the very nature of its subject matter will undoubtedly require updates every few years. Framing the intro of the "Future of Mass Media" chapter with a specific device--the iPad--rather than the set of cultural protocols such devices foster, for example, might prove to be one area where instructors redirect conversations after the next new device inevitably cycles through.

The text is lucid and easy to follow. The book is ideal for introductory-level courses, but is likely too survey-oriented for courses beyond that level.

The text is consistent in structure, tone, and subject matter.

Here the book really excels at guiding students through a programmatic approach to studying media. Each section of history/description is followed by useful discussion prompts and activities, easily lending itself to course adoption.

The book flows logically. Some medium-specific chapters might arguably be collapsed into others, but their separation provides instructors with a good range of options for organizing lesson plans as they wish rather than having to proceed sequentially.

The text is a cleanly organized PDF, but is quite cumbersome to navigate internally. At 700+ pages, there's no table of contents and little in the PDF that allows for quick and easy browsing without intense scrolling. I'd recommend a hyperlinked TOC and some mechanism that affords instructors/students the freedom to teach/read in a modular, not linear, fashion.

The book is very clean and free of any obvious errors.

The book appropriately qualifies and focuses on the US media context, drawing on a good diversity of examples throughout.

Reviewed by Robert Kerr, Professor, University of Oklahoma on 1/12/15

This book devotes almost 800 pages to achieving an impressive level of comprehensiveness, considering the vast subject material upon which it focuses. Moving from Gutenberg’s 15th-century invention of the movable type printing press, through the beginning of the contemporary media age launched by the introduction of the telegraph in the mid 19th century, on into the explosive era opened with the beginnings of wireless communication, and ultimately into the revolution of Internet communication that by 2008 meant that U.S. households were consuming 3.6 zettabytes of information annually, the equivalent of a seven-foot-foot tall stack of books that covered the entire nation and represented a 350 percent increase from just three decades previously. This book manages to cover that remarkable series of media developments, and actually a good bit more, while keeping it all in broader context and without getting bogged down in the tedium of too much minutia from any one topic area.

This reviewer came across no errors of fact nor any pattern of bias in presentation.

The author of any text on this subject is faced with the challenge of achieving up-to-date content on a subject that explodes with new developments faster than any static text could ever stay fully up to date on for long. This text addresses that challenge by focusing on presenting a fully, dynamic framework that is so fully developed that it provides readers with a quite useful and enduring framework for considering crucial issues of media and culture in a manner that should give it a considerable shelf life. That framework is designed to help readers understand not only today’s media landscape but to consider what may be ahead for that landscape in terms of the future of media and culture.

The text breaks down relevant concepts and terminology with lucid, accessible prose so that even readers at the most introductory level should be able to always understand the discussion. Throughout the text, it very clearly helps readers think about each concept and related elements very clearly and in context that illuminates their significance.

This book’s use of terminology and framework is remarkably consistent. The author clearly has an instinctive, unified understanding of the essential dynamics driving the media world as it has evolved, exists today, and is unfolding going forward, and consistently discusses all topics in a context that never loses connection with that broad, fluid picture.

Chapters are organized into small modules, short subsections that by and large can stand alone and could be reorganized as an instructor might find more useful for the purposes of particular courses. Each chapter and each subsection includes highly useful learning objectives, key takeaways, and exercises, links to source materials and end-of-chapter assessments.

The book begins with a thorough overview that takes the reader quickly through a multifaceted assessment of the relationship between media and culture. With that foundation established, it moves into discussion of what is understood about the complex subject of media effects. Then it moves into narrower topics within the broader view considered so far, moving on to discussions of books, newspapers, magazines, music, radio, movies, and television, and then on to more recent developments such as electronic games, the Internet and social media. Then it steps back again to consider broader media influences such as advertising/PR, the role of economics in shaping the nature of mass media, ethical considerations, and government influence, before concluding with a substantial discussion of the future of mass media. The final chapter very effectively brings together the many strands of discussion from preceding chapters and synergizes them with a forward looking discussion of what the media future may hold. A table of contents within the book pdf itself would be helpful, as would content outlines at the beginning of each chapter. However, each chapter does contain very good breakdown highlights of each subsection’s learning objectives, key takeaways, and exercises, as well as extensive links to source materials and end-of-chapter assessments.

There do not seem to be any interface problems. The book is easy to navigate and the images/charts are displayed clearly, without distortion. Display features are presented quite distinctly and effectively throughout and should present readers with not distractions or confusion. The layout is somewhat visually plain, compared to many websites and even many traditional textbooks with more graphically elaborate designs, but the simple layout is easy to negotiate. The number of images/charts is not abundant, but is sufficient.

Grammar is used correctly throughout -- including use of the term “media” as a plural noun, which even too many academics have begun to use incorrectly as a singular term. It even includes an explanation of why it is incorrect to make that term singular, despite its popular usage in such manner. The text is very well written throughout, lively and to the point, with an easy flow that should enable readers to move through it almost effortlessly.

Over the course of this 761-page book, the reader is taken through an extensive range of discussion examples that span a multitude of races, ethnicities, and backgrounds. This reviewer did not detect any instances of cultural insensitivity or offensiveness.

This book is written well enough to be of general interest as a stand-alone read, apart from the context of its use as a textbook.

Reviewed by Doug Trouten, Professor, University of Northwestern - St. Paul on 7/15/14

The text covers all of the major forms of media and significant related topics (advertising, media economics, ethics, etc.). While the text lacks a dedicated chapter for journalism, this topic is covered at length in some of the other chapters. No... read more

Content is accurate and free of glaring errors. Although written in a personal, conversational tone, the text avoids obvious personal bias.

The content is up-to-date, including discussion of social media and references to recent works of media criticism. The rapid development of new media makes it likely that some of the material in this (or any) book will quickly seem dated, but the most time-sensitive material is confined to a few chapters, which should facilitate future updates.

The book is written in clear, easy-to-understand language that should appeal to today's college-age reader.

The text shows good consistency, introducing key ideas early and using them to facilitate understanding of material covered in subsequent chapters.

The chapters are clearly divided into subsections, each with clearly stated learning objectives, key takeaways and learning exercises. Most subsections could stand on their own, and chapters focusing on specific forms of mass media could easily be rearranged or skipped if desired.

The topics are presented in a logical fashion. After introducing basic ideas about media and culture and media effects, the text moves to discussion of various forms of media in chronological orders, and ends with chapters on various mass media applications and issues, such as advertising, public relations, ethics and government regulation.

The text is a basic PDF, with fixed line breaks that limit display options. Most URLs are live links. Footnote numbers and references to chapter sections look like links but are not, which may confuse some readers. A format better-suited for e-readers would be welcome.

The text strives to be culturally neutral, and should not offend any particular group of readers. The text clearly focuses on the U.S. media context, and acknowledges this limitation early on.

This is an impressively comprehensive overview of mass communication, written in a clear and engaging manner. Discussion questions and exercises are helpful resources for classroom use. A glossary, index and more flexible e-format would make this text even more useful. This text is a welcome addition to the field, and will serve students and teachers well.

Chapter 1: Media and Culture
Chapter 2: Media Effects
Chapter 3: Books
Chapter 4: Newspapers
Chapter 5: Magazines
Chapter 6: Music
Chapter 7: Radio
Chapter 8: Movies
Chapter 9: Television
Chapter 10: Electronic Games and Entertainment
Chapter 11: The Internet and Social Media
Chapter 12: Advertising and Public Relations
Chapter 14: Ethics of Mass Media
Chapter 15: Media and Government
Chapter 16: The Future of Mass Media

Ancillary Material

University of Minnesota Libraries Publishing

About the Book

According to the author, the world did not need another introductory text in mass communication. But the world did need another kind of introductory text in mass communication, and that is how Understanding Media and Culture: An Introduction to Mass Communication was birthed.

The only question was: What would be the purpose of another introductory mass communication text?

Understanding Media and Culture: An Introduction to Mass Communication was written to squarely emphasize media technology. The author believes that an introduction to mass communication text should be a compelling, historical narrative sketching the *ongoing evolution* of media technology and how that technology shapes and is shaped by culture — and that is what he set out to deliver with his new textbook.

Today's students are immersed in media technology. They live in a world of cell phones, smart phones, video games, iPods, laptops, Facebook, Twitter, FourSquare, and more. They fully expect that new technology will be developed tomorrow. Yet students often lack an historical perspective on media technology. They lack knowledge of the social, political and economic forces that shape media technology. This is not knowledge for knowledge's sake. It is knowledge that can help them understand, comprehend, appreciate, anticipate, shape and control media technology.

With this focus, Understanding Media and Culture becomes an appropriate title. Indeed, the title has particular significance. Marshall McLuhan's Understanding Media is a key text in media studies. Written in the 1960s, Understanding Media was the subject of intense debates that continue to this day. Its central message was that the technology of media — not their content — was their most important feature. In a typically pithy phrase, McLuhan said, "The medium is the message." The title, Understanding Media and Culture: An Introduction to Mass Communication , situates the introductory text in a large, engrossing theoretical conversation.

The goal is to adopt a textbook that will support and complement your teaching of this course. Understanding Media and Culture: An Introduction to Mass Communication will support an engaging and interesting course experience for students that will not only show them the powerful social, political and economic forces will affect the future of media technology, but will challenge students to do their part in shaping that future.

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Tips and Tools for Crafting a Multimedia Presentation

If you’re reading this blog, there’s a good chance you’ve given a presentation before. There’s also a good chance you’ve been on the receiving end of a presentation. Presentations are effective ways to teach, sell, and share ideas—the list is endless. Not all presentations are good, though—and when you’re in the midst of a bad one, it’s easy to tell.

With the right tools and dedicated time for editing, revising, and practicing, a multimedia presentation has the potential to take the topic at hand to new heights.

Let’s find out how.

What is a Multimedia Presentation?

Much like the name suggests, a multimedia presentation is a presentation featuring multiple (multi) types of media. A few examples of media types include videos, GIFs, animations, audio, or photos.

At first reference, you might automatically equate a multimedia presentation with a PowerPoint. While PowerPoint is a valuable tool for creating a multimedia presentation, not all PowerPoints are multimedia presentations.

A multimedia presentation is effective because it uses different types of media to engage an audience and ultimately communicate. Whether it’s a lesson, a pitch, a complex idea, or even a data set, multimedia presentations are an effective way to capture and maintain the attention of your target audience.

Multimedia Presentations: 3 Common Examples

In order to deliver an effective multimedia presentation, it’s important to consider what you’re trying to convey and which media type and format works best.

Here are three of the most common examples of multimedia presentations and how they can be used.

Example 1: Video

Video is a captivating way to transform information. Using video in a presentation can add context to an idea or even bring a theory to life through a visual example.

Adding video can also be effective in any education setting where a teacher or professor is seeking to increase in-class engagement . In fact, according to a study published in Innovations in Pharmacy , students reported higher in-class attention levels when a multimedia presentation was used for a class lecture rather than a traditional “chalk and talk” lecture.

Incorporating multimedia presentations into the classroom doesn’t just improve class engagement—it also gives students the opportunity to learn in whichever style works best for them .

The same goes for professional presentations. Videos can keep your audience attentive, boost retention, and make your points crystal clear. That’s because videos disrupt the monotonous structure of a typical meeting, which so often lead to disengagement and lack of attention.

Example 2: Animations and GIFs

In a new era of remote pitches and virtual demos, sales teams that once relied on a team, an oral presentation, and a basic slide deck have to get creative.

Presentation videos are one way that sales teams across industries are reshaping the traditional pitch. A great way to get creative with presentation videos is by adding in animations or GIFs to help articulate your key points.

A well-placed animation or GIF can create a natural pause in your presentation for quick reflection or needed break. It can also make your pitch more personable—and persuasive. If you’re presenting with a slide deck that includes other forms of media, an animation can help bring greater clarity to a complex process and break down complicated concepts.

Example 3: Graphs and Charts

Massive amounts of data can be incredibly helpful when solving a complex problem. It can also be difficult to present effectively.

For example, you might be able to identify a particular pattern or trend in a data set from first glance. However, your audience may not share your skillset and feel confused or overwhelmed by large data sets in your presentation.

Data visualization is important because it makes data easier to understand and pull insights from. Data visualization tools take existing data and organize it into graphs, charts, or other visual tools.

Multimedia presentations can help data visualization come to life. You can incorporate interactive graphs, tables, charts, and maps into your presentation to get everyone on the same page. Or take it a step further and add animations to these visualizations to emphasize important data points.

Essential Tools for Multimedia Presentation Building

There are lots of different tools you can use to design your multimedia presentation and even create new media. While many tools are similar, it’s important to note that some are more advanced than others. Make sure you know your skill limitations ahead of time and select only the tools you feel comfortable using.

Here are four of the most important tools for building a multimedia presentation.

PowerPoint, Google Slides, Keynote

All three of these tools are the gold standard for creating a slide-deck style multimedia presentation. Similar in design and features, the differences between these three programs are subtle, and the only reason to use one over the other would be based on what you have access to.

One of the biggest benefits of using any of these three programs is that they’re all easy to use. If you’re a beginner, you can select from a variety of pre-made templates and drag and drop your media directly into your slides.

As a bonus, these three programs also have some animation features, allowing you to animate objects on a slide or add in some seamless transitions between slides. These programs are all also easy to export and share, so your audience can review your presentation whenever they need a refresher.

Adobe Creative Cloud

Adobe Creative Cloud is more advanced and could require some additional knowledge or training. The biggest benefit of Adobe Creative Cloud is that all of the different products can be used interchangeably. For example, if you’re working on a video presentation in Adobe Premiere, you can seamlessly import an animation or motion graphic you created in Adobe After Effects directly into your video project file.

Canva is a multi-use tool that combines the features of PowerPoint and a variety of Adobe Creative Cloud products. It’s designed for beginner to intermediate users, also offering pre-made templates. As a bonus, many of their plans are low-cost, and there’s a free option that anyone can use.

Canva features include everything from slide-deck style presentation templates to video presentations, standalone videos, and even some basic data visualization.

Data Visualization

While many of the tools above have some sort of basic data visualization functionality, there are tools out there specially designed for more advanced applications and audiences.

Tableau , for example, is one of the most advanced data visualization tools often used by data scientists and statisticians. Power BI is another similar tool that tends to be lower cost for most users and integrates with other Microsoft products.

Both tools have similar features and provide a variety of visualization options, so you can present data in a way that allows your audience to analyze effectively or clearly see important insights.

5 Steps for Creating a Multimedia Presentation

Overall, creating a multimedia presentation is similar to planning and designing any other type of presentation. Here are five steps to crafting a multimedia presentation:

Frame your story.
Create an outline.
Choose your tools.
Start building and add media.
Revise and edit.

Let’s dig into these steps a bit more.

Step 1: Frame Your Story

In this Harvard Business Review article—which breaks down the process of developing a TED Talk —writer and TED curator Chris Anderson suggests starting with framing.

There’s no way you can give a good talk unless you have something worth talking about. Conceptualizing and framing what you want to say is the most vital part of the preparation. Anderson

Planning out your journey is exactly where Anderson suggests the first part of any presentation planning should begin. Why? Because it forces you, the presenter, to think critically about who your audience is and what level of knowledge they may or may not have regarding your topic.

Anderson’s other piece of advice on framing your story is to limit your scope. While you might have a ton of information you want to share, it’s important to narrow down your topic to only the things that can be explained, with particular attention to the things that can be explained and reinforced with different types of media.

Step 2: Create an Outline

Once you have your concept and a rough idea of your journey in mind, it’s time to organize it into an outline. Think of your outline as a way to break down your topic into smaller, digestible pieces. Eventually, these smaller chunks will become the content for each of your presentation slides if you’re doing a slide-deck style presentation. If you’re not doing a slide presentation, these small pieces could also work well into a video storyboard.

Once your outline is finished, it’s time to go back and make note of any items that would benefit from additional media.

Here are a few examples of things to consider:

Do you have large amounts of numbers you can visualize with an animated graphic?
Is there a picture you can display to bring context to something you’re talking about?
Do you have access to videos that show a theory or concept you’re talking about?
Are there any product videos available that show your product in use?

These are only a few examples of areas where different types of media can help reinforce your point or act as engagement pieces if you’re in a more collaborative presentation setting .

Step 3: Choose Your Tools

Selecting the correct tools can make presentation building easier and help you plan out the different forms of media you’ll include.

As with all tools, be sure you’re familiar with the program you’re working with before you get started. If you’re not familiar with the program, check to see if you can find any resources to get up to speed on the basics, or reach out to a colleague or teammate to get assistance.

Step 4: Start Building and Add Media

Now that you have your outline and you’ve selected the tools you’re going to use to build your multimedia presentation, it’s time to get started!

Use your outline to guide the creation of your multimedia presentation. For example, if you’re going to create a slide deck style presentation, begin populating your slides with necessary headers to guide your presentation from one section to the next.

It might be helpful to sketch out the design of your slide layout and create boxes or placeholders where you’d like to add media. Once you’re finished, go back and add the different types of media to your slides.

Step 5: Revise and Edit

This sometimes overlooked step is often one of the most important steps in any presentation design process, not just multimedia presentation creation.

Think of it this way: Once you finish your presentation, consider it your first draft. Step away, take a day off, and then return with fresh eyes to review your original outline and ensure your transitions are effective.

As a final note, don’t forget to check for typos and grammatical errors. There’s nothing worse than being mid-presentation and realizing, or being alerted to, a silly mistake that you could have easily fixed with a bit more attention to detail.

Enhancing Your Multimedia Presentation with Vibe

Simply put, making a multimedia presentation takes time and effort. Luckily, a Vibe Board gives you additional tools to deliver better presentations with ease.

Vibe’s laser pointer and annotation tool means you can keep participants focused on what matters. You can also add notes or drawings to your presentation in real-time.

If you’re presenting with Vibe Canvas , participants can even interact with your presentation from their personal devices. After joining the Canvas, they can highlight a point they’d like you to discuss more, provide instant feedback, or add their questions to the board for a quick Q&A session after your presentation.

You can also transition through slides and play embedded media with your finger or using the Vibe stylus.

Most importantly, you can collaborate with your participants from anywhere. Vibe is integrated with multiple video conferencing apps, which means you can present with confidence both in-person and remote.

Speaking of integration, Vibe also seamlessly integrates with more than 100 apps , like PowerPoint, Canva and more. Check out Vibe today !

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The Importance of Presentation Skills: That You Must Know About

Uncover The Importance of Presentation Skills in this comprehensive blog. Begin with a brief introduction to the art of effective presentations and its wide-reaching significance. Delve into the vital role of presentation skills in both your personal and professional life, understanding how they can shape your success.

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Table of Contents

1) A brief introduction to Presentation Skills

2) Importance of Presentation Skills in personal life

3) Importance of Presentation Skills in professional life

4) Tips to improve your Presentation Skills

5) Conclusion

A brief introduction to Presentation Skills

Presentation skills can be defined as the ability to deliver information confidently and persuasively to engage and influence the audience. Be it in personal or professional settings; mastering Presentation Skills empowers individuals to convey their ideas with clarity, build confidence, and leave a lasting impression. From public speaking to business pitches, honing these skills can lead to greater success in diverse spheres of life. You can also refer to various presentation skills interview questions and answer to build you confidence! This blog will also look into the advantages and disadvantages of presentations .It is therefore important to understand the elements of presentations .

Importance of Presentation Skills in personal life

Effective Presentation skills are not limited to professional settings alone; they play a significant role in personal life as well. Let us now dive deeper into the Importance of Presentation Skills in one’s personal life:

Expressing ideas clearly

In day-to-day conversations with family, friends, or acquaintances, having good Presentation skills enables you to articulate your thoughts and ideas clearly. Whether you're discussing plans for the weekend or sharing your opinions on a particular topic, being an effective communicator encourages better understanding and engagement.

Enhancing social confidence

Many individuals struggle with social anxiety or nervousness in social gatherings. Mastering Presentation skills helps boost self-confidence, making it easier to navigate social situations with ease. The ability to present yourself confidently and engage others in conversation enhances your social life and opens doors to new relationships.

Creating memories on special occasions

There are moments in life that call for public speaking, such as proposing a toast at a wedding, delivering a speech at a family gathering, or giving a Presentation during special events. Having polished Presentation skills enables you to leave a positive and lasting impression on the audience, making these occasions even more memorable.

Handling challenging conversations

Life often presents challenging situations that require delicate communication, such as expressing condolences or resolving conflicts. Strong Presentation skills help you convey your feelings and thoughts sensitively, encouraging effective and empathetic communication during difficult times.

Building stronger relationships

Being a skilled presenter means being a good listener as well. Active listening is a fundamental aspect of effective Presentations, and when applied in personal relationships, it strengthens bonds and builds trust. Empathising with others and showing genuine interest in their stories and opinions enhances the quality of your relationships.

Advocating for personal goals

Whether you're pursuing personal projects or seeking support for a cause you're passionate about, the ability to present your ideas persuasively helps garner support and enthusiasm from others. This can be beneficial in achieving personal goals and making a positive impact on your community.

Inspiring and motivating others

In one’s personal life, Presentation skills are not just about delivering formal speeches; they also involve inspiring and motivating others through your actions and words. Whether you're sharing your experiences, mentoring someone, or encouraging loved ones during tough times, your Presentation skills can be a source of inspiration for others.

Exuding leadership traits

Effective Presentation skills go hand in hand with leadership qualities. Being able to communicate clearly and influence others' perspectives positions you as a leader within your family, social circles, or community. Leadership in personal life involves guiding and supporting others towards positive outcomes.

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Importance of Presentation Skills in professional life

Effective Presentation skills are a vital asset for career growth and success in professional life. Let us now explore the importance of Presentation skills for students and workers:

Impressing employers and clients

During job interviews or business meetings, a well-delivered Presentation showcases your knowledge, confidence, and ability to communicate ideas effectively. It impresses employers, clients, and potential investors, leaving a positive and memorable impression that can tilt the scales in your favour.

Advancing in your career

In the corporate world, promotions and career advancements often involve presenting your achievements, ideas, and future plans to decision-makers. Strong Presentation skills demonstrate your leadership potential and readiness for higher responsibilities, opening doors to new opportunities.

Effective team collaboration

As a professional, you often need to present projects, strategies, or updates to your team or colleagues. A compelling Presentation facilitates better understanding and association among team members, leading to more productive and successful projects.

Persuasive selling techniques

For sales and marketing professionals, Presentation skills are instrumental in persuading potential customers to choose your products or services. An engaging sales pitch can sway buying decisions, leading to increased revenue and business growth.

Creating impactful proposals

In the corporate world, proposals are crucial for securing new partnerships or business deals. A well-structured and compelling Presentation can make your proposal stand out and increase the chances of successful negotiations.

Gaining and retaining clients

Whether you are a freelancer, consultant, or business owner, Presentation skills play a key role in winning and retaining clients. A captivating Presentation not only convinces clients of your capabilities but also builds trust and promotes long-term relationships.

Enhancing public speaking engagements

Professional life often involves speaking at conferences, seminars, or industry events. Being a confident and engaging speaker allows you to deliver your message effectively, position yourself as an expert, and expand your professional network.

Influencing stakeholders and decision-makers

As you climb the corporate ladder, you may find yourself presenting to senior management or board members. Effective Presentations are essential for gaining support for your ideas, projects, or initiatives from key stakeholders.

Handling meetings and discussions

In meetings, being able to present your thoughts clearly and concisely contributes to productive discussions and efficient decision-making. It ensures that your ideas are understood and considered by colleagues and superiors.

Professional development

Investing time in honing Presentation skills is a form of professional development. As you become a more effective presenter, you become a more valuable asset to your organisation and industry.

Building a personal brand

A strong personal brand is vital for professional success. Impressive Presentations contribute to building a positive reputation and positioning yourself as a thought leader or industry expert.

Career transitions and interviews

When seeking new opportunities or transitioning to a different industry, Presentation Skills are essential for communicating your transferable skills and showcasing your adaptability to potential employers.

Take your Presentations to the next level with our Effective Presentation Skills & Techniques Course. Sign up today!

Tips to improve your Presentation Skills

Now that you know about the importance of presentation skills in personal and professional life, we will now provide you with tips to Improve Your Presentation Skills .

1) Know your audience: Understand the demographics and interests of your audience to tailor your Presentation accordingly.

2) Practice regularly: Rehearse your speech multiple times to refine content and delivery.

3) Seek feedback: Gather feedback from peers or mentors to identify areas for improvement.

4) Manage nervousness: Use relaxation techniques to overcome nervousness before presenting.

5) Engage with eye contact: Maintain eye contact with the audience to establish a connection.

6) Use clear visuals: Utilise impactful visuals to complement your spoken words.

7) Emphasise key points: Highlight important information to enhance audience retention.

8) Employ body language: Use confident and purposeful gestures to convey your message.

9) Handle Q&A confidently: Prepare for potential questions and answer them with clarity.

10) Add personal stories: Include relevant anecdotes to make your Presentation more relatable.

All in all, Presentation skills are a valuable asset, impacting both personal and professional realms of life. By mastering these skills, you can become a more effective communicator, a confident professional, and a persuasive influencer. Continuous improvement and adaptation to technological advancements will ensure you stay ahead in this competitive world.

Want to master the art of impactful Presentations? Explore our Presentation Skills Courses and elevate your communication prowess!

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How to Make a “Good” Presentation “Great”

Guy Kawasaki

Remember: Less is more.

A strong presentation is so much more than information pasted onto a series of slides with fancy backgrounds. Whether you’re pitching an idea, reporting market research, or sharing something else, a great presentation can give you a competitive advantage, and be a powerful tool when aiming to persuade, educate, or inspire others. Here are some unique elements that make a presentation stand out.

Fonts: Sans Serif fonts such as Helvetica or Arial are preferred for their clean lines, which make them easy to digest at various sizes and distances. Limit the number of font styles to two: one for headings and another for body text, to avoid visual confusion or distractions.
Colors: Colors can evoke emotions and highlight critical points, but their overuse can lead to a cluttered and confusing presentation. A limited palette of two to three main colors, complemented by a simple background, can help you draw attention to key elements without overwhelming the audience.
Pictures: Pictures can communicate complex ideas quickly and memorably but choosing the right images is key. Images or pictures should be big (perhaps 20-25% of the page), bold, and have a clear purpose that complements the slide’s text.
Layout: Don’t overcrowd your slides with too much information. When in doubt, adhere to the principle of simplicity, and aim for a clean and uncluttered layout with plenty of white space around text and images. Think phrases and bullets, not sentences.

As an intern or early career professional, chances are that you’ll be tasked with making or giving a presentation in the near future. Whether you’re pitching an idea, reporting market research, or sharing something else, a great presentation can give you a competitive advantage, and be a powerful tool when aiming to persuade, educate, or inspire others.

Guy Kawasaki is the chief evangelist at Canva and was the former chief evangelist at Apple. Guy is the author of 16 books including Think Remarkable : 9 Paths to Transform Your Life and Make a Difference.

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How To Make a Good Presentation [A Complete Guide]

By Krystle Wong , Jul 20, 2023

A top-notch presentation possesses the power to drive action. From winning stakeholders over and conveying a powerful message to securing funding — your secret weapon lies within the realm of creating an effective presentation .

Being an excellent presenter isn’t confined to the boardroom. Whether you’re delivering a presentation at work, pursuing an academic career, involved in a non-profit organization or even a student, nailing the presentation game is a game-changer.

In this article, I’ll cover the top qualities of compelling presentations and walk you through a step-by-step guide on how to give a good presentation. Here’s a little tip to kick things off: for a headstart, check out Venngage’s collection of free presentation templates . They are fully customizable, and the best part is you don’t need professional design skills to make them shine!

These valuable presentation tips cater to individuals from diverse professional backgrounds, encompassing business professionals, sales and marketing teams, educators, trainers, students, researchers, non-profit organizations, public speakers and presenters.

No matter your field or role, these tips for presenting will equip you with the skills to deliver effective presentations that leave a lasting impression on any audience.

Click to jump ahead:

What are the 10 qualities of a good presentation?

Step-by-step guide on how to prepare an effective presentation, 9 effective techniques to deliver a memorable presentation, faqs on making a good presentation, how to create a presentation with venngage in 5 steps.

When it comes to giving an engaging presentation that leaves a lasting impression, it’s not just about the content — it’s also about how you deliver it. Wondering what makes a good presentation? Well, the best presentations I’ve seen consistently exhibit these 10 qualities:

1. Clear structure

No one likes to get lost in a maze of information. Organize your thoughts into a logical flow, complete with an introduction, main points and a solid conclusion. A structured presentation helps your audience follow along effortlessly, leaving them with a sense of satisfaction at the end.

Regardless of your presentation style , a quality presentation starts with a clear roadmap. Browse through Venngage’s template library and select a presentation template that aligns with your content and presentation goals. Here’s a good presentation example template with a logical layout that includes sections for the introduction, main points, supporting information and a conclusion:

2. Engaging opening

Hook your audience right from the start with an attention-grabbing statement, a fascinating question or maybe even a captivating anecdote. Set the stage for a killer presentation!

The opening moments of your presentation hold immense power – check out these 15 ways to start a presentation to set the stage and captivate your audience.

3. Relevant content

Make sure your content aligns with their interests and needs. Your audience is there for a reason, and that’s to get valuable insights. Avoid fluff and get straight to the point, your audience will be genuinely excited.

4. Effective visual aids

Picture this: a slide with walls of text and tiny charts, yawn! Visual aids should be just that—aiding your presentation. Opt for clear and visually appealing slides, engaging images and informative charts that add value and help reinforce your message.

With Venngage, visualizing data takes no effort at all. You can import data from CSV or Google Sheets seamlessly and create stunning charts, graphs and icon stories effortlessly to showcase your data in a captivating and impactful way.

5. Clear and concise communication

Keep your language simple, and avoid jargon or complicated terms. Communicate your ideas clearly, so your audience can easily grasp and retain the information being conveyed. This can prevent confusion and enhance the overall effectiveness of the message.

6. Engaging delivery

Spice up your presentation with a sprinkle of enthusiasm! Maintain eye contact, use expressive gestures and vary your tone of voice to keep your audience glued to the edge of their seats. A touch of charisma goes a long way!

7. Interaction and audience engagement

Turn your presentation into an interactive experience — encourage questions, foster discussions and maybe even throw in a fun activity. Engaged audiences are more likely to remember and embrace your message.

Transform your slides into an interactive presentation with Venngage’s dynamic features like pop-ups, clickable icons and animated elements. Engage your audience with interactive content that lets them explore and interact with your presentation for a truly immersive experience.

8. Effective storytelling

Who doesn’t love a good story? Weaving relevant anecdotes, case studies or even a personal story into your presentation can captivate your audience and create a lasting impact. Stories build connections and make your message memorable.

A great presentation background is also essential as it sets the tone, creates visual interest and reinforces your message. Enhance the overall aesthetics of your presentation with these 15 presentation background examples and captivate your audience’s attention.

9. Well-timed pacing

Pace your presentation thoughtfully with well-designed presentation slides, neither rushing through nor dragging it out. Respect your audience’s time and ensure you cover all the essential points without losing their interest.

10. Strong conclusion

Last impressions linger! Summarize your main points and leave your audience with a clear takeaway. End your presentation with a bang , a call to action or an inspiring thought that resonates long after the conclusion.

In-person presentations aside, acing a virtual presentation is of paramount importance in today’s digital world. Check out this guide to learn how you can adapt your in-person presentations into virtual presentations .

Preparing an effective presentation starts with laying a strong foundation that goes beyond just creating slides and notes. One of the quickest and best ways to make a presentation would be with the help of a good presentation software .

Otherwise, let me walk you to how to prepare for a presentation step by step and unlock the secrets of crafting a professional presentation that sets you apart.

1. Understand the audience and their needs

Before you dive into preparing your masterpiece, take a moment to get to know your target audience. Tailor your presentation to meet their needs and expectations , and you’ll have them hooked from the start!

2. Conduct thorough research on the topic

Time to hit the books (or the internet)! Don’t skimp on the research with your presentation materials — dive deep into the subject matter and gather valuable insights . The more you know, the more confident you’ll feel in delivering your presentation.

3. Organize the content with a clear structure

No one wants to stumble through a chaotic mess of information. Outline your presentation with a clear and logical flow. Start with a captivating introduction, follow up with main points that build on each other and wrap it up with a powerful conclusion that leaves a lasting impression.

Delivering an effective business presentation hinges on captivating your audience, and Venngage’s professionally designed business presentation templates are tailor-made for this purpose. With thoughtfully structured layouts, these templates enhance your message’s clarity and coherence, ensuring a memorable and engaging experience for your audience members.

Don’t want to build your presentation layout from scratch? pick from these 5 foolproof presentation layout ideas that won’t go wrong.

4. Develop visually appealing and supportive visual aids

Spice up your presentation with eye-catching visuals! Create slides that complement your message, not overshadow it. Remember, a picture is worth a thousand words, but that doesn’t mean you need to overload your slides with text.

Well-chosen designs create a cohesive and professional look, capturing your audience’s attention and enhancing the overall effectiveness of your message. Here’s a list of carefully curated PowerPoint presentation templates and great background graphics that will significantly influence the visual appeal and engagement of your presentation.

5. Practice, practice and practice

Practice makes perfect — rehearse your presentation and arrive early to your presentation to help overcome stage fright. Familiarity with your material will boost your presentation skills and help you handle curveballs with ease.

6. Seek feedback and make necessary adjustments

Don’t be afraid to ask for help and seek feedback from friends and colleagues. Constructive criticism can help you identify blind spots and fine-tune your presentation to perfection.

With Venngage’s real-time collaboration feature , receiving feedback and editing your presentation is a seamless process. Group members can access and work on the presentation simultaneously and edit content side by side in real-time. Changes will be reflected immediately to the entire team, promoting seamless teamwork.

7. Prepare for potential technical or logistical issues

Prepare for the unexpected by checking your equipment, internet connection and any other potential hiccups. If you’re worried that you’ll miss out on any important points, you could always have note cards prepared. Remember to remain focused and rehearse potential answers to anticipated questions.

8. Fine-tune and polish your presentation

As the big day approaches, give your presentation one last shine. Review your talking points, practice how to present a presentation and make any final tweaks. Deep breaths — you’re on the brink of delivering a successful presentation!

In competitive environments, persuasive presentations set individuals and organizations apart. To brush up on your presentation skills, read these guides on how to make a persuasive presentation and tips to presenting effectively .

Whether you’re an experienced presenter or a novice, the right techniques will let your presentation skills soar to new heights!

From public speaking hacks to interactive elements and storytelling prowess, these 9 effective presentation techniques will empower you to leave a lasting impression on your audience and make your presentations unforgettable.

1. Confidence and positive body language

Positive body language instantly captivates your audience, making them believe in your message as much as you do. Strengthen your stage presence and own that stage like it’s your second home! Stand tall, shoulders back and exude confidence.

2. Eye contact with the audience

Break down that invisible barrier and connect with your audience through their eyes. Maintaining eye contact when giving a presentation builds trust and shows that you’re present and engaged with them.

3. Effective use of hand gestures and movement

A little movement goes a long way! Emphasize key points with purposeful gestures and don’t be afraid to walk around the stage. Your energy will be contagious!

4. Utilize storytelling techniques

Weave the magic of storytelling into your presentation. Share relatable anecdotes, inspiring success stories or even personal experiences that tug at the heartstrings of your audience. Adjust your pitch, pace and volume to match the emotions and intensity of the story. Varying your speaking voice adds depth and enhances your stage presence.

5. Incorporate multimedia elements

Spice up your presentation with a dash of visual pizzazz! Use slides, images and video clips to add depth and clarity to your message. Just remember, less is more—don’t overwhelm them with information overload.

Turn your presentations into an interactive party! Involve your audience with questions, polls or group activities. When they actively participate, they become invested in your presentation’s success. Bring your design to life with animated elements. Venngage allows you to apply animations to icons, images and text to create dynamic and engaging visual content.

6. Utilize humor strategically

Laughter is the best medicine—and a fantastic presentation enhancer! A well-placed joke or lighthearted moment can break the ice and create a warm atmosphere , making your audience more receptive to your message.

7. Practice active listening and respond to feedback

Be attentive to your audience’s reactions and feedback. If they have questions or concerns, address them with genuine interest and respect. Your responsiveness builds rapport and shows that you genuinely care about their experience.

8. Apply the 10-20-30 rule

Apply the 10-20-30 presentation rule and keep it short, sweet and impactful! Stick to ten slides, deliver your presentation within 20 minutes and use a 30-point font to ensure clarity and focus. Less is more, and your audience will thank you for it!

9. Implement the 5-5-5 rule

Simplicity is key. Limit each slide to five bullet points, with only five words per bullet point and allow each slide to remain visible for about five seconds. This rule keeps your presentation concise and prevents information overload.

Simple presentations are more engaging because they are easier to follow. Summarize your presentations and keep them simple with Venngage’s gallery of simple presentation templates and ensure that your message is delivered effectively across your audience.

1. How to start a presentation?

To kick off your presentation effectively, begin with an attention-grabbing statement or a powerful quote. Introduce yourself, establish credibility and clearly state the purpose and relevance of your presentation.

2. How to end a presentation?

For a strong conclusion, summarize your talking points and key takeaways. End with a compelling call to action or a thought-provoking question and remember to thank your audience and invite any final questions or interactions.

3. How to make a presentation interactive?

To make your presentation interactive, encourage questions and discussion throughout your talk. Utilize multimedia elements like videos or images and consider including polls, quizzes or group activities to actively involve your audience.

In need of inspiration for your next presentation? I’ve got your back! Pick from these 120+ presentation ideas, topics and examples to get started.

Creating a stunning presentation with Venngage is a breeze with our user-friendly drag-and-drop editor and professionally designed templates for all your communication needs.

Here’s how to make a presentation in just 5 simple steps with the help of Venngage:

Step 1: Sign up for Venngage for free using your email, Gmail or Facebook account or simply log in to access your account.

Step 2: Pick a design from our selection of free presentation templates (they’re all created by our expert in-house designers).

Step 3: Make the template your own by customizing it to fit your content and branding. With Venngage’s intuitive drag-and-drop editor, you can easily modify text, change colors and adjust the layout to create a unique and eye-catching design.

Step 4: Elevate your presentation by incorporating captivating visuals. You can upload your images or choose from Venngage’s vast library of high-quality photos, icons and illustrations.

Step 5: Upgrade to a premium or business account to export your presentation in PDF and print it for in-person presentations or share it digitally for free!

By following these five simple steps, you’ll have a professionally designed and visually engaging presentation ready in no time. With Venngage’s user-friendly platform, your presentation is sure to make a lasting impression. So, let your creativity flow and get ready to shine in your next presentation!

The Significance and Impact of the Media in Contemporary Society

First Online: 10 March 2018

Cite this chapter

Faith Gordon 3

Part of the book series: Palgrave Socio-Legal Studies ((PSLS))

1085 Accesses

This chapter explores the significance of the media and the impact it has on the meaning-making processes in contemporary society. It draws on key national and international academic literature and previous studies on the role and functions of the media. This includes the key theoretical debates on deviancy amplification, folk devils and moral panics. It assesses the media’s impact on criminal justice policies and on public opinion of, and support for authoritarian ideologies and policies. In particular, it will focus on exploring how the media can influence popular culture and the impact of media portrayals of crime on societal perceptions, responses and reactions directed towards social groups, in particular children and young people ‘in conflict with the law’.

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It has long been acknowledged that the media are difficult to capture and define (Craig 2004 : 3). As outlined in Chap. 1 , the terms ‘media’ or ‘mass media’ refer to the traditional definition of the media, as consisting of newspapers (the print media), radio (broadcast media) and news bulletins and programs (televised media). While choosing to focus on the contemporary media, this book acknowledges from the outset that there is an extensive body of work existing on the historical origins of the media; mass communication and its impact, and the role of technological development (see Downing 1980 ; Frost 2000 ; Curran 2002 ).

There has been much criticism of pluralist theories on the media, including the arguments that pluralism is an ideological justification for the media and that the basis of the theory is not grounded in evidence. Rather the pluralist model assumes that the content of the media is diverse, without presenting evidence to reinforce or prove this theory (see Blumler and Gurevitch 1995 ).

Rupert Murdoch’s ownership of a range of media outlets in the United Kingdom (UK) and United States (US) is a prime example of the concentration of power and the influence of owners on media content (see Golding and Murdock 1991 ; Horrie 2003 ; Cole 2005 ). Further to this, academics such as Barker ( 1999 : 46) argue that conglomeration has aided a general concentration of media ownership, with research such as Bagdikian’s ( 2004 ) stating that the US media were controlled by 50 corporations in the 1980s, and by 2003 this had been reduced to five controlling the majority of the 178,000 media outlets. Significantly as Tait ( 2012 : 518) observes, the ‘scale and intensity’ of the phone hacking scandal in 2011, saw the resignation of the chief executive of one of the UK’s most influential newspaper groups, the resignation of one of the UK’s most senior police officers, the arrest of Andy Coulson, who had acted as the then Prime Minister, David Cameron’s head of communications, the resignation of two senior executives from key companies in the Murdoch empire, as well as the collapse of the takeover deal in relation to BSkyB and the closure of the News of the World (see also Keeble and Mair 2012 ; McKnight 2012 ; Watson and Hickman 2012 ).

As Barrat ( 1994 : 61) notes, the majority of media organisations are influenced by ‘a variety of commercial influences’, including the need to be profitable and also obtaining revenue through ‘advertising’. Some media outlets are part of the public sector, such as the BBC and they have the requirement ‘to provide a public service’, by ‘informing, educating, and entertaining audiences’ (Barrat 1994 : 61).

Tait’s ( 2012 : 520) analysis of the phone hacking scandal asserts that it has ‘revealed some fundamental issues in British political communications, the political system and the practice and regulation of journalism’. His analysis also documents ‘a secret history’ between Murdoch and British politics (Tait 2012 : 520–523).

Semiology provides a suitable vehicle for studying the meanings behind media content (see O’Connor 1989 ; Hall 1997 ; Berger 1998 ; Barker 2000 ; Schirato and Yell 2000 ). In contemporary literature it is now referred to as semiotics and was first developed by the Swiss linguist, Saussure, who proposed that meaning was ‘produced through … language systems’ (Schirato and Yell 2000 : 19). He focused on the ‘linguistic sign’, which he divided into the ‘signifier’, ‘the signified’ and the ‘sign’ (Schirato and Yell 2000 : 19).

As the findings of a number of content analysis studies highlight, the media exaggerate the levels of crime, in particular violent crime in the UK (see Ditton and Duffy 1983 ; Schlesinger and Murdock 1991 ; Williams and Dickinson 1993 ; Callanan 2005 ; Greer 2005 ; Reiner 2007 ).

Dorfman and Schiraldi’s ( 2001 ) research found that 76 percent of the public said they formed their opinions about crime from the media, whereas 22 percent reported that their knowledge of crime was formed through their personal experiences.

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Gordon, F. (2018). The Significance and Impact of the Media in Contemporary Society. In: Children, Young People and the Press in a Transitioning Society. Palgrave Socio-Legal Studies. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-60682-2_2

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12.1 The Media as a Political Institution: Why Does It Matter?

Learning outcomes.

By the end of this section, you will be able to:

Explain the importance of a free press both in the United States and abroad.
Describe how the media acts as a watchdog and give examples.
Understand and define how political information is mediated.

Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances. —The 1st Amendment to the United States Constitution

The press is the only profession explicitly protected in the United States Constitution. Many attribute this protection to James Madison and his writings in the Federalist Papers , but the idea of a free press stretches back to well before Madison wrote out his ideas on what constitutes a perfect democracy. The origins of the free press in the United States can be traced back to Cato’s letters , a collection of essays written in the 1720s by two British writers, John Trenchard and Thomas Gordon . Using the pseudonym Cato, they published their articles in the British press, criticizing the British monarchy for its corruption and tyrannical practices. Decades later, American colonists felt the effects of these letters during their own struggles against the Crown, 1 and in 1776, Virginia became the first state to formally adopt a constitutional provision to protect press freedom. 2 Why is the idea of protecting the press so embedded in the United States’ concept of government, and why is this concept so important? Do other nations protect the media to the same extent, or even more? The next section will examine these questions.

The Fourth Estate and Freedom of the Press

The importance of a free press can be boiled down to a sentence from esteemed University of Illinois at Chicago lecturer Doris Graber ’s seminal work Mass Media and American Politics : “The mass media . . . serve as powerful guardians of political norms because the American people believe that a free press should keep them informed about the wrongdoings of government.” 3 Another common way of defining the media’s role is to say that it acts as the fourth estate , or the unofficial fourth branch of government that checks the others. The term fourth estate is credited to Scottish writer Thomas Carlyle , who wrote, “Burke said there were Three Estates in Parliament; but, in the Reporter’s Gallery yonder, there sat a Fourth Estate more important far than they all.” 4 In other words, people look to the media—the fourth estate—to keep the government in check. The role of the media must be protected if it is to carry out that task.

Throughout US history, the media has fulfilled this role as intended. In the late 1960s, Rand Corporation analyst Daniel Ellsberg provided classified documents to the New York Times and the Washington Post proving that the government was concealing protracted military involvement in the Vietnam War. The New York Times withstood government pressure and a Supreme Court case to go on to publish a series of articles now known as the Pentagon Papers , which revealed the extent to which the American public had been lied to about the country’s progress in that war. The Watergate scandal is perhaps the most famous example of press freedom and the role of the press as watchdog (another term for the fourth estate ). In this instance, a government informant known as Deep Throat fed Washington Post reporters Bob Woodward and Carl Bernstein confidential information about then president Richard Nixon’s corrupt campaign practices. An ensuing series of investigative pieces by the two journalists revealed multiple abuses of power in Nixon’s reelection campaign, and their reporting ultimately led to the indictment of multiple presidential aides and the eventual resignation of the president himself.

In this video clip, investigative journalists Bob Woodward and Carl Bernstein, editor Barry Sussman, and former executive editor Ben Bradlee recall how, when they worked for the Washington Post in 1972, they broke the story of the Watergate scandal, a story that started with an investigation of a break-in at a Washington, DC, hotel and led to a constitutional crisis, the resignation of President Richard Nixon, and almost 50 criminal convictions.

In the case of the Pentagon Papers, the Supreme Court ruled 6–3 that the president’s argument—that prior restraint 5 was necessary in order to protect national security—was not enough “to abrogate the fundamental law embodied in the First Amendment ,” 6 and this is the most important First Amendment case because it addresses the sweeping right of the press and press protections in the 20th century. Watergate showed how a protected press is free to serve one of its main purposes, which is to reveal government misconduct. New Yorker staff writer Richard Harris wrote at the time that, “The press was potentially Mr. Nixon’s enemy—far more than the courts or Congress, because only the press could dig out and tell the story (whatever help reporters might get from the courts or Congress) in a way that would arouse the people to demand an accounting.” 7

Watchdogs do not have to be journalistic behemoths like the New York Times or the Washington Post. In the United Kingdom, a small, independent newspaper called the Rochdale Alternative Paper revealed decades-long abuse allegations against Liberal Party MP 8 Cyril Smith . The exposé in the paper, which had a circulation of 8,000 at its highest, 9 eventually led to both a police and an independent government investigation into a child abuse ring that involved several high-level government officials, including MP Peter Morrison, the private secretary to then prime minister Margaret Thatcher . 10 Another way to understand the watchdog function of the press is through the term muckraker , referring to reform-minded investigative journalists during the Progressive Era in the United States (late 1800s to early 1900s) who exposed the wrongdoings of industry leaders. One famous example of a muckraker was Upton Sinclair , who wrote the novel The Jungle based on the corrupt and inhumane practices in American meatpacking companies at the turn of the 20th century. The publication of The Jungle led to governmental action on food safety. In his 1919 work The Brass Check , Sinclair exposed the journalism industry’s penchant for yellow journalism , or journalism that relies on catchy titles and human interest stories to drive sales over well-researched articles or pieces on civic affairs. Sinclair was not afraid to take on media titans such as William Randolph Hearst , who owned the nation’s largest chain of newspapers at the time.

Watchdogs and muckrakers act as a check on government action and corruption. They play an important part in exercising the role of a free press as a cornerstone of a functioning democracy. As Yale University professor and member of the Council on Foreign Relations Timothy Snyder writes, “If nothing is true, then no one can criticize power, because there is no basis upon which to do so.” 11 The media allows the public to understand what is happening in government in order to hold elected officials accountable. Or, perhaps more simply put, “A free press is important because it is the freedom upon which all of our other freedoms are contingent.” 12

How free is the press? The answer is not black and white, as evidenced by the 2021 World Press Freedom Index . Published every year by Reporters Without Borders , the Freedom Index measures freedom in 180 countries “based on an evaluation of pluralism, independence of the media, quality of legislative framework and safety of journalists in each country and region.” 13 The map in Figure 12.3 below shows that the press is freer in some countries (in pink and purple on the map) than in others (in blue and green).

According to the index and as reflected in the map, Norway, Finland, Sweden, and Denmark have the freest presses in the world. Notably, Norway tries to discourage media concentration in order to ensure a variety of outlets, something that will be discussed in later parts of this chapter. The 2021 index ranked the United States 44th, after South Africa (32nd), Botswana (38th), and South Korea (42nd).

George Mason University professor Sam Lebovic explains that two main factors, the rise of concentration in ownership and increased state secrecy, are responsible for the inadequacy of press freedom in the United States, which is an ongoing and serious problem. 14 The modern US media faces unprecedented struggles against declining viewership and revenues, which work to limit the number of outlets and decrease the number of working journalists. At the same time, legislation such as the Patriot Act , passed after the September 11, 2001, terrorist attacks, has made it more difficult for the press to verify state information because of increasing pressure on sources not to cooperate and prosecution of journalists who do ascertain information. In addition, the Trump administration further hampered press freedoms through the prosecution of news sources, public statements that discredited journalists, and encouragement of foreign leaders to take steps to restrict their own media. 15 The future of press freedom in America, while still unstable due to media concentration and surveillance laws such as the Patriot Act, may show some signs of improvement; in a speech on Press Freedom Day in 2021, President Joe Biden decried the imprisonment of 274 reporters worldwide, criticized the lack of local media outlets, and said that the United States “recognize[s] the integral role a free press plays in building prosperous, resilient, and free societies.” 16 Despite these laudatory comments about a free press, however, it is clear the United States faces challenges in protecting journalists’ ability to fulfill their roles.

A study of the United States and Latin America provides an example of how this idea of the importance of a free press is shared across cultures. In the study, journalists representing both cultures shared a common definition of a free press as one that functions without government pressure and to promote social and economic development. 17 This study considered whether or not a free press is related to increased economic development, a question that to date has not been conclusively answered. While the notion that political freedoms (such as freedom of the press) should naturally encourage economic growth and increased standards of living is a common one, current research has not found conclusive evidence either supporting or refuting the claim. 18

There is more of a consensus on the benefits of a free press when it comes to preventing corruption. Studies of press freedom around the world, conducted by scholars in England, Argentina, and Australia, confirm this theory. 19 In this way, the watchdog role that the press plays is based on democratic ideals and has real-world effects for the public.

The Mediated Nature of Political Information

The political information most people receive is mediated information . What does this mean? Unless they work directly in government, most citizen’s understanding of politics comes completely from the media, whether via television news, podcasts, or social media feeds. The media may be a gatekeeper, but it is also a storyteller. As such, it is important to realize that what people see in the media is actually a manufactured view of the political world. Journalists and others who create the news follow routines and are influenced by institutional values that manifest themselves in media content. As Columbia University professor Herbert Gans writes in his study of the American media, “The news does not limit itself to reality judgments; it also contains values, or preference statements. This in turn makes it possible to suggest that there is, underlying the news, a picture of nation and society as it ought to be.” 20 Gans acknowledges that professional journalists try to be objective, yet the news does in fact make judgments and value statements. For example, crime news alerts viewers to the idea that there are undesirable actors within society and that criminals should be punished. Judgments and value statements such as these are different from political bias; while some news outlets are overtly liberal or conservative, Gans’s study shows that the media produces stories with cultural values that people may not detect because they are so used to seeing stories presented this way. For example, according to Gans, ethnocentrism and altruistic democracy are two of the key enduring values in the news. Ethnocentrism in the news refers to the idea that the American media values the United States above all other nations. This manifests most obviously in war coverage, where the press rarely questions American involvement—and to do so would be unpatriotic. In a similar vein, Gans explains that the American news media emphasize an altruistic democracy , the ideal held up by the media that politics should be based on public service and for the public interest. 21 In these ways, the news makes statements about what is right and what is wrong and presents political news through these lenses.

Journalists also share other professional values as to what makes a “good” news story, such as proximity, negativity, scope (how big is the story?), timeliness, and unexpectedness (novelty). 22 Because journalists share these professional values, there is a certain homogeneous quality to the news, otherwise known as pack journalism . This means that people receive the same type of news story repeatedly, though this has been changing since the advent of online news, a topic that will be discussed later in the chapter. Journalists’ common ideas about what should be in the news and why color their coverage and presentation of the news—and, as a result, the public’s perception of politics.

It is important here to note that the concept of news values differs across countries—what is newsworthy in the United States may not be in other nations—and the role of the media differs as well. A study on the news in Japan found that strong cultural forces and local needs drive how news is produced and delivered. 23 Other scholars have found that Western news organizations highlight human interest stories, while Arabic news focuses more on social responsibility and Islamic values. 24 University of Leicester Professor Vincent Campbell echoes the sentiment that news organizations in different countries are fueled by different values and that this influences what stories their audiences see. In authoritarian countries, journalists focus less on performing the watchdog role and more on promoting state activities. 25 This is the case in countries such as North Korea and China, where the state government runs the media.

Related to the idea that the media in large part decides what is a good news story is the concept of the media’s gatekeeping role and its agenda-setting powers. In other words, according to agenda-setting theory , the media decides both what to ignore or filter out and what to show the public. As University of Texas professor Maxwell McCombs and University of North Carolina professor Donald Shaw write, “In choosing and displaying news, editors, newsroom staff, and broadcasters play an important part in shaping political reality. Readers learn not only about a given issue, but also how much importance to attach to that issue from the amount of information in a news story and its position.” 26 Whether it is a producer who selects the topics for the evening news or an algorithm that creates a social media news feed, people know what is “news” by what is fed to them, they know what is important based on how often it gets airtime, and they understand that there are lead stories and stories that don’t matter very much. The public doesn’t make these decisions; professionals within the news industry make them for the public. (Later parts of this chapter will discuss how this power dynamic has changed thanks to social media and how, in many ways, it is no longer media professionals who select what the public sees.)

If the media decides which stories to present, it also has a hand in deciding how stories are presented. According to framing theory , the way the media frames political information can affect people’s understanding of it. University of Illinois professor David Tewksbury and University of Wisconsin professor Dietram A. Scheufele explain:

“Artists know that the frame placed around a painting can affect how viewers interpret and react to the painting itself. . . . Journalists—often subconsciously—engage in essentially the same process when they decide how to describe the political world. They choose images and words that have the power to influence how audiences interpret and evaluate issues and policies.” 27

For example, a study on gubernatorial races found that female candidates were more likely to be framed in terms of personal characteristics than their male counterparts, who were more likely to be framed in terms of their positions on policy issues. 28 In a separate study, researchers found that one common way the Dutch national media framed news on the European Union (EU) was in terms of assigning responsibility for social problems to the government. This study suggests that the Dutch media’s presentation of political news reflects the public expectation that the government will provide social welfare programs. 29 By highlighting certain aspects of a story and ignoring others, frames can affect people’s judgments and opinions on policy issues, and just as with agenda setting, elected officials fight to make sure they are framed in the correct light.

The public, and individual viewers, should know that while the media is a critical tool that aids people’s political decision-making, it is guided by professional values that dictate the content. Individuals’ views on politics can sometimes be out of their control, but they can work to assemble a better picture of the world by turning to a variety of media outlets and becoming aware of what goes into story selection. While internal pressures (such as professional norms) or external forces (such as authoritarian governments) can influence how the media portrays information, ownership can also affect what the public sees. The next section will examine the different types of media—and, perhaps more importantly, who owns them and how this affects their role in the political world.

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Publication date: May 18, 2022
Location: Houston, Texas
Book URL: https://openstax.org/books/introduction-political-science/pages/1-introduction
Section URL: https://openstax.org/books/introduction-political-science/pages/12-1-the-media-as-a-political-institution-why-does-it-matter

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1 Article 1 Set: What is Representation in Media?

There are THREE (3) article options in this set.

What Exactly is Media Representation Anyway?

Tawil, Y. (n.d.). What exactly is media representation anyway? Arab Film & Media Institute. https://arabfilminstitute.org/what-exactly-is-media-representation-anyway/

The importance of representation in media has been a prominent topic as of late. From the 2015 Oscars “so white” to the heavy discourse surrounding this year’s remake of Ghostbusters with an all-woman leading cast, we’ve finally begun to see a shift in attitudes towards the representation of underserved demographics in a variety of media. Even this year’s Olympics in Rio has been a huge force for representation, especially for women of color from all over the world. It is important to understand representation, though truly understanding the depth of a seemingly simple concept can be tough. We’re going to take you through some of the basic concepts of media representation and its importance, both to underserved communities, and to our society at large.

2016 Summer Olympics.

What does representation in the media really mean?

The basic definition of representation in the media is simply how media, such as television, film and books, portray certain types of people or communities. There are a number of groups who are underrepresented in most Western media. They include women, people of color, LBGTQA+ people, people with a range of body shapes and types, people of non-Christian religions, and differently-abled people. There has been a steady increase of diversity in media, but progress has been long and slow.

Ghostbusters (2016) image – Sony Pictures

But I see diversity in media all the time…

There are a few major ways producers of media can misrepresent a community, under the guise of creating diversity. The first is tokenism. Tokenism is when the inclusion of a minority or other underrepresented group is no more than a symbolic effort to make a story or environment seem equal or diverse. This can be seen in many different aspects of life, from the “diversity hires” at work, to the gay best friend in a television show. Another way to misrepresent people is through stereotyping and typecasting , which are two concepts that are very closely related. Stereotyping can be seen in media through the assumptions of how a certain type of person is supposed to be due to their racial, ethnic, gender, sexual or religious identity. Stereotypes, even those that seem harmless or even positive, can have a profound effect on society as they create unrealistic, and often negative, expectations and assumptions. Common stereotypes of Arabs in Western media include the Arab man as a terrorist or an oil-hungry sheikh. Typecasting, which generally refers specifically to actors, is when a person is repeatedly assigned the same type of role due to success with that role in the past or because they “look like” a specific stereotype. This can happen to all types of people, but underrepresented people tend to find themselves pigeonholed into the same roles again and again. Actor and comedian Aziz Ansari wrote a piece in the New York Times about the struggles he’s experienced as an Indian actor, and he touched specifically on typecasting. He wrote, “Even though I’ve sold out Madison Square Garden as a standup comedian and have appeared in several films and TV series, when my phone rings, the roles I’m offered are often defined by ethnicity and often require accents.”

Film still from Raiders of the Lost Ark (1981) showcasing a stereotypical Arab character.

What’s the importance of representation?

Strong and positive representation can help fight and break down stereotypes that can be detrimental to individuals and limiting to society . When a group of people is only ever represented in negative ways, it adversely affects the way others see them, as well as the way they see themselves. Which means, on the flip side, positive representation can build self-confidence in individuals. It offers them role models to look up to and people and characters to be inspired by and reinforces that they are not lesser than. They can be the superhero, the doctor, the actor or whoever they want to be. The benefits of better representation are also not limited to the people represented. We all benefit from learning about different experiences and expanding our notion of what is “normal”, isn’t this one of the fundamental purposes of art?

More diverse representation also opens up new and better opportunities. For example, there is a specific lack of acting opportunities available to non-white actors, simply because scripts insist on white characters. More diverse scripts, create more diverse roles which create more opportunities for non-white actors. And when this diversity goes a step further, beyond tokenism, it also opens the door for more interesting and complex roles for these actors. All of this ultimately leads to richer stories, new voices and new perspectives in our media.

Film still from Hidden Figures (2017)

Well, media companies are just doing what makes them the most money…right?

Not so true. The 2016 Hollywood Diversity Report from the Ralph J.Bunche Center for African American Studies at UCLA, found that in the United States “increasingly diverse audiences prefer diverse film and television content”. More specifically, the report found that films with more diverse cast had the highest median global box office receipts and the highest median return on investment. It also showed that social media engagement peaked for scripted broadcast and cable television shows that also had more diverse casts. So…that theory’s pretty much dead.

Still from Orange is the New Black, a show known for it’s diverse cast.

Want to learn more about diversity and representation in the media? Check out our blog post on diversity reports .

About the Author: Yasmina Tawil

Article ii:

Racial and cultural diversity in entertainment media.

MediaSmarts. (n.d.). Racial and cultural diversity in entertainment media. https://mediasmarts.ca/digital-media-literacy/media-issues/diversity-media/visible-minorities/racial-cultural-diversity-entertainment-media

In much the same way that racialized groups are under- or misrepresented in news media, they are also not accurately portrayed in entertainment media, which tends to reinforce themes that are conveyed in the news. Although positive change is occurring, it is important that media content more accurately and fairly reflect the reality of Canadian multiculturalism.

There is no question that entertainment media can have a profound effect on how young people see themselves and others. In a 2021 study, children aged nine to 12 who were asked how they would cast various roles were more than twice as likely to cast a White actor as the hero (52 percent, compared to 19 percent who would cast a Black actor and 12 percent who would cast an Asian actor) and more than twice as likely to cast a Black actor as poor. This held true no matter the race of the child: for example, only 16 percent of Black children cast a Black actor as the hero. [1]

Racialized groups in television

Dr. Minelle Mahtani, of the Institute for Social Justice at the University of British Columbia, argues that Canadian entertainment media shares many problems with American programming, exhibiting a similar tendency to under-represent and misrepresent racialized groups. According to Mahtani, this under-representation is “suggestive of [these groups’] unimportance or their non-existence.” [2] More recent research suggests that this hasn’t changed much. A 2018 study which analyzed 780 films from 1970 to 2018 found that “white actors are just over three and a half times more likely to speak than their population size would predict, leading to the underrepresentation of all other groups.” [3]

The recent international success of Canadian TV programs such as Anne with an E and Schitt’s Creek echoes this trend. Despite improved diversity in other areas, these shows feature predominantly White actors. [4] While racialized people make up 16.3 percent of speaking roles in Canadian television shows overall, [5] it wasn’t until 2019 that a Black Canadian actor was cast in a lead role for a primetime Canadian television program (Vinessa Antoine, in Diggstown. ) [6] Even now, the launch or cancellation of a single show, such as Kim’s Convenience [7] or The Porter, [8] has a significant impact on the number of non-White roles onscreen.

An advertisement for the CBC series The Porter

Until recently, it was still fairly common for White actors to play non-White characters in animated TV shows such as The Simpsons , Family Guy and Bojack Horseman. This has begun to change, however: most notably, Hank Azaria, who voiced Apu on The Simpsons – possibly the most widely-seen South Asian character in North American TV over the last three decades – decided in 2021 to stop playing the role, saying “if it’s an Indian character, or a Latinx character, or a Black character, please, let’s have that person voice the character. It’s more authentic, they’ll bring their experience to it. Let’s not take jobs away from people who don’t have enough.” [9]

How racialized characters are portrayed can be an issue, as well. Though negative stereotypes are still common [10] – for example, immigrants on American TV shows are often portrayed as being less educated and more likely to commit crimes than they are in reality [11] – an increasing trend is towards aggressively colour-blind casting. This can occur either in shows that simply pretend that race and ethnicity are no longer relevant to young people’s lives, like the CW’s Riverdale , or ones that imagine alternate worlds where the concepts are meaningless such as Prime’s Wheel of Time . While colour-blind casting provides more roles for non-White characters, treating colour-blindness as a positive value can, paradoxically, make viewers less sympathetic to the actual challenges faced by diverse communities: “Color-blindness is not just about showing and adding color to television; it is about assigning no meaning to color, positioning all ethnoracial groups in the same playing field.” [12]

Similarly, shows about law enforcement and crime typically offer a “colour-blind” vision of the justice system, rarely portraying things commonly experienced by racialized groups such as racial bias and racially-motivated police misconduct. [13]

While colour-blind casting may be a valuable starting point, a better standard would be shows that allow their characters to experience “mainstream” stories while recognizing and addressing their characters’ specific identities and the challenges associated with them, such as Netflix’s Never Have I Ever and CBC’s Sort Of . Chris Van Dusen, creator and show-runner of the Netflix show Bridgerton , took an approach he describes as “not color-blind [but] color-conscious” [14] in which the producers had “freedom to give people from diverse backgrounds a role but where a character’s race can still play a part in their story.” [15]

The cast of the first season of Netflix's Bridgerton

The cast of the second season of Netflix’s Bridgerton

Representation behind the screen is an issue, as well. A 2017 survey found that 91 percent of writers’ rooms in American TV were led by White showrunners, [16] and 64 percent of diverse writers in television had experienced bias, discrimination and harassment while working. [17]

The advent of streaming platforms such as Netflix and Disney Plus has resulted in more diversity both onscreen and off, [18] possibly because these services are better able to “narrowcast” to smaller audiences than traditional television. [19] While streaming platforms do make it easier to access international content, such as the South Korean hit Squid Game , because they feature little Canadian content they may provide a portrait of diversity just as inaccurate to Canadian audiences as American broadcast television.

Racialized groups in film

Film has a long history of racism and stereotyping. The first “blockbuster,” Birth of a Nation , not only valorized the Ku Klux Klan but led to its revival (and inspired a number of activities, such as cross-burning, which the original incarnation of the group had not practiced.) [20] It is true that there has been significant progress in the representation of racialized groups in film: compare, for instance, the original West Side Story, in which all but one of the Puerto Rican characters were played by White actors, to the 2021 remake, in which all are played by Latinx actors, and their Spanish dialogue is neither translated nor subtitled. [21] Nevertheless, significant issues and challenges remain.

Thanks to a number of factors, including the small size of Canada’s film industry and the prominence of the National Film Board (NFB), Canadian film has a fairly good history of racially and culturally diverse participation, both in front of and behind the camera. Canadian feature films such as White Elephant and Night of the Kings feature realistic and responsible fictional portrayals of racially and culturally diverse experience while the NFB has produced dozens of films on everything from hot-button multiculturalism issues to filmmakers’ family histories.

Still, these films make up a tiny portion of the movies watched by Canadian audiences, and too few to prevent actors from being lured away to the United States. As Fabienne Colas, founder of the Toronto Black Film Festival, put it, “in the U.S.A., you do have those roles for black people… we don’t have those roles; they don’t really exist.” [22] As well, the smaller size of the Canadian film industry increases the power of a small number of gatekeepers who have been, for most of its history, primarily White. [23]

There continues to be a fairly narrow range of roles available to racialized actors in both the Canadian and American film industries. A study of the 1,300 top-grossing films released between 2007 and 2019, for instance, found just 44 – or 3.4 percent – featured an Asian actor in a leading role. [24] (7.1 percent of the U.S. population identifies as “Asian or Pacific Islander”; [25] 14 percent of the Canadian population identifies as South Asian, Chinese, Filipino, Southeast Asian, Korean or Japanese.) [26] Of those 44 roles, just 13 percent were considered three-dimensional – not being defined as a foreigner, sidekick or villain – by the study’s authors. [27]

This may be because while a small number of racially and culturally diverse actors, such as Viola Davis and Dwayne Johnson, are among Hollywood’s biggest box-office draws, nearly all of the faces behind the camera are White. The Writers Guild of America’s Inclusion Report 2020 detailed that racialized people make up 20 percent of screenwriters in the United States even though they make up 40 percent of the population. [28] Racially and culturally diverse actors are also often only considered for parts specifically written as racialized, while parts of unspecified ethnicity are White by default. Kelly Edwards, vice-president of talent development and corporate diversity at NBC Universal, has said that casting directors and producers also tend to turn to actors with whom they’re already familiar, which often results in less diversity onscreen. [29]

Racialized groups in music

Canadian music has traditionally been a way through which minorities have been able to gain visibility, and this continues to the present day, with Ethiopian-Canadian artist The Weeknd and Drake, a biracial artist with a Black American father and Jewish Canadian mother, finding success both in Canada and internationally.

Popular music frequently displays certain racial themes. Toby Jenkins, professor of Integrative Studies and Higher Education, notes that rap and hip hop music express the realities of institutional racism and find their roots in the 1960s civil rights movement and integration of Black students into White society, giving these marginalized communities a way to express their thoughts and struggles at a time when they were often silenced and ignored in classrooms or social life. As Jenkins argues, “hip hop music tells the story of what it is like to be Black in America… hip hop music is one of the few cultural spaces where African Americans can voice their discontent with American power structures that make it difficult for Blacks to be successful.” [30]

Like American hip hop, much of Canadian hip hop is concerned with matters of race, culture and identity – but those of Black Canadians, whose origins, experiences and history are quite different from those of Black Americans. While it originated in close imitation of American hip hop, Canadian artists such as Kardinal Offishall and Boogat produce music which is much more influenced by the traditions of the Caribbean (two-thirds of African Canadians are of Caribbean origin) while first-generation immigrants such as K’naan express their personal and cultural experiences in producing their music and francophone hip hop performers such as Alaclair Ensemble draw on traditional Québécois folk music.

Other racially and culturally diverse groups have begun to make their presence known on the music scene, as well. The increasing prominence of South Asian culture, most visibly represented by “Bollywood” movies, has resulted in a greater visibility for groups like Delhi 2 Dublin which plays songs with lyrics in Punjabi and music played on instruments such as the sitar, dhol and tabla to mostly White audiences, with their 2019 album having more English lyrics. As with Canadian hip hop, this new wave of South Asian music isn’t just a transplant of traditional forms but a blend of influences – in this case South Asian banghra, Celtic folk and reggae. Raghav Mathur, whose music mashes Bollywood beats with hip hop and whose lyrics are equal parts English and Hindi, compares South Asian music in Canada to Latin artists such as Shakira and Camila Cabello, who’ve found success with both diverse and mainstream audiences.

Unfortunately, when it comes to diversity the move to streaming platforms has not had the same positive effects for diverse music as it has for film and television. This may be because users are more likely to allow the recommendation algorithm to make choices for them on music streaming platforms. This can result in a “rich get richer” cycle, which gives preference to mainstream acts even more than traditional media did. [31] TikTok, which for many young people is the main means of discovering new music, [32] has a history of preferentially boosting White creators who are performing Black performers’ music. [33] At the same time, unlike in traditional media, diverse acts can be found on Spotify and similar platforms – though the need to find and curate them is a significant barrier. In some cases, those same algorithms have also promoted music that would never have been widely heard on traditional radio, such as gay and Black artist Lil Nas X’s Old Town Road (which went on to win a Country Music Association Award.)

Racialized groups in advertising

Advertising has historically been a medium particularly prone to stereotyping. [34] Ads, which are by definition unwanted by their audience, have to make a strong impression in a brief exposure, [35] and stereotypes provoke the emotional reactions that drive brand loyalty and purchase intention. [36] While Aunt Jemima – the syrup mascot whose roots are in Nineteenth Century minstrel shows – has been retired, [37] research from 2021 found that half of people from historically under-represented communities have seen ads that stereotype them. [38]

Advertisers were slow to directly appeal to racialized groups. For instance, in 1963 Pepsi became one of the first large companies to advertise directly to Black audiences. [39] More recently, however, a growing number of advertisers have realized the value of appealing to racialized groups [40] as well as to young audiences who expect the brands they support to reflect their values. [41] As Allen Adamson, co-founder of marketing strategy firm Metaforce, explained, “it’s a cost-benefit thing. Most marketers have come to realize that no matter what they do, a certain segment is going to be offended. But the upside — seeming inclusive — outweighs the risk of ruffling feathers.” [42]

Ads do still draw on racial stereotypes, even from brands that have a long history with those communities. For example, in 2017, a Dove ad featured a Black woman transforming into a White woman and a Pepsi ad appeared to make light of Black Lives Matter protests. [43] Online, Black influencers routinely earn less per post than their White counterparts, [44] while the social networks that rely on their content also allow advertisers to target them with ads in ways that can be discriminatory [45] and even illegal. [46]

An ad for Dove body wash in which a Black model removes her shirt and becomes White.

Dove’s body wash ad, which was withdrawn in response to protests.

Racialized groups in video games

Unlike other media, there is no domestic Canadian video game industry. While a number of extremely successful video game publishers, such as BioWare and Ubisoft, are based in Canada, their work is created for the American market. As a result, racially and culturally diverse representation in video games can only be considered in an American context.

Video games have perhaps the worst record of racially and culturally diverse representation. While 87 percent of Black teenagers play video games – more than any other teen demographic [47] – just two percent of game developers are Black. [48] Most Black video game characters are given background roles or “roles that enforce racist stereotypes,” [49] and when games do offer diverse characters they’re often reserved for downloadable add-ons sold separately. [50]

Violence, of course, is a frequent occurrence in video games, but while White characters are more likely to be shown engaging in fantasy violence – using swords or laser guns against monsters or aliens – racially and culturally diverse characters are much more likely to be part of realistic violent acts such as drive-by shootings, violent muggings and gang fights. [51] Asian characters are stereotyped even further, as they are almost exclusively shown engaging in martial arts. Many racialized groups – such as South Asians or Hispanics – are nearly or entirely absent. [52] Similarly, video games are, like animation, one of the few media where it is still common for White actors to voice non-White characters. [53]

Perhaps because the video game industry is overwhelmingly White, [54] it’s often proven to be insensitive on racial topics. For instance, it took Nintendo two decades to make it possible to change a character’s skin tone in the popular game Animal Crossing; the character Alloy in Horizon: Zero Dawn sports “appropriative and gross” [55] dreadlocks; World of Warcraft features characters called “Pandarens” with stereotypically Chinese clothing and mannerisms; [56] and Fortnite has reproduced dance moves created by Black artists without crediting or compensating them “despite being gaming’s biggest phenomenon.” [57] Ian Sundstrom, an independent video game developer, comments on these instances saying, “when it comes to the bigger AAA games with huge budgets, there’s really not an excuse to not be hiring black artists and designers to work on your game…[the] bare minimum [is] spending the extra time with the people you do have to add those different options and let people embody a character that looks like them.” [58]

Unlike other media such as television and film, adding onscreen diversity to video games can be a technical challenge – though this can sometimes be overused as an excuse. Ion Hazzikostas, director of the World of Warcraft expansion Shadowlands , explained why the game hadn’t previously offered a diverse range of facial features and hairstyles: “Some of it was technical constraints, going back to the way things were built, and the number of different textures that could be mapped onto a single model from the engine 15 years ago. But those are lines of code that can be changed. And yes, the real question is why didn’t we do it sooner? It’s a good question. We should’ve done this sooner, honestly.” [59]

Character creation options in World of Warcraft: Shadowlands, including a wider range of ethic and racial options.

New character creation options in World of Warcraft: Shadowlands

Racialized groups in social media

Because of their networked nature , social media have had a mixed impact on racialized groups. On the one hand, the ability to publish content more or less directly to audiences has allowed racialized communities to bypass the gatekeepers associated with traditional media. Black communities use Twitter as a news source and [60] a resource for finding congenial businesses [61] and both Black and Asian communities use social media to demonstrate to skeptical White audiences the reality of racism in Canada [62] and elsewhere. [63]

But social networks are by no means free of racism themselves. There are many examples of White users making racist posts [64] or participating in “digital Blackface,” either by appropriating other cultures or using filters to literally make themselves look Black or Asian. [65] Other apps promote colourism by encouraging users to virtually lighten their skin. [66] Some platforms’ recommendation algorithms downrank posts about racial justice issues such as Black Lives Matter, [67] while many of those that allow users to earn revenue from advertising prevent them from monetizing those posts as a “brand safety” measure designed to keep ads from appearing alongside “controversial content. [68]

As with other media industries, this occurs in part because racialized communities are under-represented: just six percent of Twitter’s workforce, and four percent of Facebook’s, is Black. [69] Among decision-makers, the numbers are even lower. A 2016 study of 177 large US technology companies found that just 1.4 percent of executives and senior managers were Black. [70] Other forms of racial and ethnic prejudice can also limit participation and representation in the tech industry. While South Asians are well-represented in Silicon Valley, for example, workers from lower castes often experience caste-based discrimination and harassment and feel pressure to conceal their caste origins where possible. [71]

For more information on how to deal with hate directed towards racialized groups and other diverse communities, see our section on online hate .

Article iii:

Representation of diversity in media – overview.

MediaSmarts. (n.d.). Representation of diversity in media – Overview. https://mediasmarts.ca/digital-media-literacy/media-issues/diversity-media/representation-diversity-media-overview

Media representation issues

What we see – and don’t see – in media affects how we view reality. Media works can be imagined either as mirrors that reflect an audience’s own experience, windows that give them access to experiences they otherwise wouldn’t have known, or in some cases both. Rosemary Truglio, Senior Vice President of Sesame Workshop, described the diverse cast of Sesame Street as giving children “a mirror for them to see themselves, and (…) a window for them to learn about others.” [1]

Sesame Street was a milestone in representation of race and disability in children’s media.

Media portrayals may provide different audiences with mirrors but not windows, or vice-versa, and a lack of either can have a negative impact. For members of historically under-represented groups, “when you have never seen yourself in books or movies or music, the first time you do is stunning.” [2] Similarly, “for children from dominant groups, window moments in stories come when the children realize they hold a powerful place in society and that there is something unjust about this.” [3] Unfortunately, fewer than half of Canadians feel that “Canadian media is a mirror in which all Canadians can see themselves.” [4]

In mass media, these issues typically play out in three ways:

Under-representation : Many groups have historically been under-represented in media. Even today, we are less likely to encounter many forms of diversity in mass media than we are in real life – and diverse communities are typically even less well-represented behind the scenes than onscreen. Under-representation can also make other representation issues worse because less representation means fewer opportunities for authentic representations of diversity within a group.

Besides being simply under-represented, groups may also be de-centred. That means making them or their culture a backdrop for more “mainstream” (e.g. White, abled, cisgender, etc.) protagonists. In some cases this may take the form of having a White character that excels in skills associated with a non-White culture, such as martial arts; stories where characters from under-represented groups need a White or other majority-culture character to “save” them; [5] and cases where aspects of an under-represented culture literally act as a prop. [6]

Stereotyping : This means portraying members of a particular group in just one or a small number of roles. This is particularly worrying when the stereotype is a negative one, but stereotyping can also do harm by only portraying a group in a narrow way. Even so-called “positive stereotypes” can have a negative effect because they limit how we see members of that group, as well as how we see ourselves. For example, if you belong to a group that is stereotyped as being good at sports, but are not particularly athletic, you may feel inadequate for being bad at something you’re “supposed” to be good at.

Another form of stereotyping is exoticizing , emphasizing the ways in which a character or culture are different from the (presumed) audience’s: for instance by overemphasizing aspects of a culture that mainstream audiences are most likely to find strange or disturbing, or by relying on things like accents or stereotyped characteristics for humour. Its most extreme form is othering , in which groups are shown as being fundamentally different from the audience and, in some cases, even as not being fully human.

Stereotyping can also happen when diverse identities always play the same role in the story. Author Corinne Duyvis identifies three ways that a character’s identity may be part of a work: “issue” stories where the identity and the challenges that come with it are what the story is about; “incidental” stories where a character’s identity is apparent but not relevant to the story, such as the main character’s sexual orientation in the Disney film Strange World, which provides a romantic subplot but is never specifically commented on; and “middle ground” stories where the identity is not the focus of the story but is recognized as always being relevant . As Duyvis puts it, “ableism, homophobia, and racism influence countless aspects of people’s everyday lives.” None of these is necessarily better than the other: what is most important is that audiences see all three kinds of stories, so that while marginalized communities’ specific issues and challenges are reflected in media they are also allowed to simply be . [7]

Whitewashing : While it has become rare for White actors to play Black or Asian characters, it remains common for disabled people, 2SLGBTQ+ people and other groups to be played by actors from outside those communities. Similarly, when works are adapted from one medium to another – such as when a book or comic is made into a movie or TV show – it is still fairly common for diverse characters to be changed into White ones, or for characters’ sexual orientation or disabilities to be downplayed or altered.

It’s important to point out that whitewashing only occurs when a character from a historically under-represented group is changed or recast so they are no longer part of that group, leading to reduced representation for that group and less diversity overall. For instance, the casting of a White actor to play an Asian character in the film Doctor Strange would count as whitewashing, while the casting of a Black actor to play a White character in the same film would not. [8]

These three issues are related, of course. Whitewashing contributes to both under-representation and stereotyping, as there are both fewer representations of historically under-represented groups in general and, in particular, fewer authentic representations. Similarly, under-representation contributes to and increases the impact of stereotypes because having fewer characters representing a particular group means fewer opportunities to show members of that group playing different roles in stories and in society.

For more examples of how these apply to different communities, see the specific articles on how each group is represented.

Impacts of media representation

All of these representation issues can have significant effects, both on audiences who are members of historically under-represented groups and those who aren’t. Seeing one’s own group stereotyped can lead to stress, negative self-image [9] and impaired academic achievement, [10] while being exposed to stereotyped portrayals of others can contribute to implicit or explicit prejudice. [11] Even more than changing individual attitudes, media portrayals – because they are seen as representing how others view a group – can have an impact on broader social attitudes towards different groups. [12] At the same time, exposure to authentic portrayals of oneself can improve self-esteem and promote a more positive view of one’s identity [13] or even improve academic performance, [14] while seeing authentic portrayals of other groups – which do not have to be uniformly positive ones [15] – can actually reduce prejudice. [16]

“Works of art are the only silver bullet we have against racism and sexism and hatred […] Art engenders empathy in a way that politics doesn’t, and in a way that nothing else really does. Art creates change in people’s hearts. But it happens slowly.” [17] Lin-Manuel Miranda

There can be significant impacts if different groups are not represented behind the scenes, as well. In mass media, under-representation behind the scenes generally results in under-representation on the screen, but it can also contribute to stereotyping as the portrayals are less likely to be authentic. [18] In digital media, not having historically under-represented groups involved at the design and management levels can lead to their experiences and concerns being ignored or treated as afterthoughts.

For more examples of how these affect different communities, see the specific articles on how each group is represented.

Intersectionality

While the other articles in this section address media portrayals of different groups separately, it’s important to point out that for many people they are not experienced that way. Many people identify with more than one historically marginalized or under-represented group, particularly when gender is added to the equation. Legal scholar Kimberlé Williams Crenshaw coined the term “intersectionality” to conceptualize “the way that different identity markers, such as race, gender, sexuality, and class, interact and affect each other.” [19]

Intersectionality does not mean that the impacts of different identities (including stereotyping) simply add on to one another, but that they transform and sometimes conflict with one another. East Asian women are frequently hypersexualized in media, [20] for example, while for East Asian men the stereotype is often the reverse. [21] However, audiences tend to consider just one aspect of intersectional identities. [22] When the stereotypes associated with two identities conflict with one another, people who identify with both may face confusion [23] or even hostility [24] from others.

It’s important to consider intersectionality both when making media and when critiquing it. For media makers, “shows and movies that attempt to lift up marginalized communities without thinking about intersectionality are only perpetuating different systems of prejudice and oppression.” [25] As well, some intersections may be an easier “sell” than others, both to audiences and the media industry. While the title character of House M.D. (2004-2012) both had a physical disability and was an outspoken atheist, he was also White; conversely, the showrunner of the currently running (2022) series Abbott Elementary said of one character’s canonical but unseen agnosticism “I honestly don’t know if we would be able to present that on ABC. It may not seem a big deal, but for a Black girl in Philadelphia — there are very few agnostic people.” [26]

When critiquing media, we should consider not just whether individual characters are stereotyped but whether a broad range of diversity, including intersecting identities, is represented. [27] As well, we should make a point of recognizing authentic portrayals of intersectionality in media, such as Reservation Dogs and Hawkeye. Finally, taking an intersectional approach to media education means considering other digital media issues – from cyberbullying to advertising to digital access and privacy – through an intersectional lens: not assuming, for example, that only White youth suffer from body image issues, and giving all young people a chance to confront the distinct ways that those issues affect them. [28]

Alaqua Cox as Maya Lopez, a.k.a. Echo, in the Disney series Hawkeye.

Maya Lopez from the Disney Plus series Hawkeye is Deaf and Indigenous, as is the actor who plays her, Alaqua Cox.

The importance of media education

Young people’s attitudes towards media representation changes over time. Children under nine don’t generally question whether what they see in media reflects their reality unless they are prompted to by parents or teachers. Tween and teens typically begin to become aware of media representation issues, especially if they are members of under-represented or stereotyped groups. By their later teens many actively seek out works with better representation. [29]

Media education can help young people put current images and messages into perspective by helping them understand how the media work, why stereotyping exists, how decisions are made and why it matters who is involved in making media works. Digital media literacy, especially if it explicitly addresses stereotyping and other media representation issues, can correct misperceptions of and prejudices towards other groups. [30] For young people who see stereotyped depictions of themselves in media works, media literacy can also mitigate negative effects on their self-esteem. [31]

Media education has also been shown to be an effective way of approaching issues like racism, providing a way of discussing difficult topics that feels safer while still challenging students’ assumptions and preconceptions [32] and can also help students affected by stereotyping deal with its effects. [33] Talking about media portrayals of diversity, especially positive ones, can also be a way of affirming students’ identities and encouraging them to create works that reflect those identities.

Positive portrayals don’t just avoid stereotyping, under-representation and the other issues identified above. They also:

take the extra step of authentically portraying the challenges that members of under-represented communities face, such as racism or accessibility issues;
tell stories of characters’ accommodations, resilience and agency in the face of those challenges; and
show characters in the context of, and connected to, their communities. [34]

Media education is not about learning the right answers; it’s about consuming media images with an active, critical mind and asking the right questions.

Here are a few examples of the types of questions that could lead to a better understanding of how different groups are represented depicted in media:

Who selected or created these images and stories? Why does it matter who made these selections?

The first principle in media education is that nothing is objective—each and every media production is created with a viewpoint and for a purpose. The “reality” depicted in film or television productions is the result of many choices and each of these choices is based on the experience, knowledge and bias of the producers involved. More important than any conscious choices are the questions media makers don’t ask – the things they believe they already know. When members of historically marginalized groups are not involved in making shows, movies, news coverage or other media featuring them, it shows.

It’s also important to understand that media can have very different meanings depending on who made them, and that marginalized groups may “reclaim” stereotyped portrayals for their own purposes.

Whose voices are being heard? Whose voices are absent? Why?

Who is interviewed on a current affairs program? Which “experts” are chosen for sound bites on an issue? Whose perspectives are ignored completely? If characters or cultures representing a historically marginalized group are represented in a media text, have the creators of that text made significant efforts to consult with those communities, as Disney did when making Frozen II and Moana ? [35]

The question of whose voices are heard isn’t just important in mass media. While digital technology has made it easier than ever for people to make and share their own media, the online platforms where they share their work – whose ownership and workforce remain overwhelmingly White [36] – do not provide sufficient moderation and tools to push back against hate speech, they may fall silent in the face of online harassment. [37]

Why are certain stories selected or privileged and others not? Are some groups only represented in a small number of frames or contexts? Are characters representing diverse communities shown as real human beings in media, or are they defined exclusively by their identity? Do depictions respect differences and diversity within these communities?

Media producers, especially those in Hollywood, have used members of historically marginalized groups to tell mainstream cultures’ stories for generations. Rarely are diverse characters given complex personalities or autonomous roles. Rarely do they rely on their own values and judgements, or act upon their own motivations. Although efforts have been made to undo this tradition, old stereotypes die hard. [38]

This question highlights why it’s important not to look just as specific media works, but at the bigger picture. Each individual game, movie, or TV show with a White, non-disabled, cisgender, heterosexual, non-denominational Christian protagonist does not necessarily matter by itself, but when all of these are seen as the default identity for a main character it sends a powerful message about who can be the “main character” and who cannot.

How do commercial considerations, including the “conventional wisdom” in the industry, lead to issues around stereotyping and representation?

Commercial considerations are often given as a reason for excluding members of historically under-represented communities, whether explicitly (such as the assumption that White audiences won’t see movies with non-White leads) [39] or implicitly (by saying, for instance, that a movie needs a “big-name” lead to be successful – without saying out loud that most of those big names are White, non-disabled, heterosexual and cisgender). [40] While this industry conventional wisdom has been proven to be false, it’s still widely held. [41]

Characteristics of different media industries, in different countries, can also have an impact on whether diversity is represented. The Canadian television industry is often described as highly risk-averse, with licensing American shows seen as a safer bet than developing Canadian ones. As a result, when diversity does appear on private Canadian channels such as Global and CTV, it more often reflects the population of the United States than Canada’s. When private broadcasters do make original programming, they tend to play it safe – which usually means making shows aimed at White audiences. [42] As the report Deciding on Diversity puts it, “Risk narratives about equity-seeking stories and storytellers persist to preserve the status quo.” [43] Nathalie Younglai, founder of BIPOC TV and Film, paraphrases TV executives’ attitudes more bluntly: “How is this Canadian? How does someone in Saskatchewan relate to this?” [44]

Similarly, digital technology companies claim to be motivated by market pressures in deciding things like which languages digital assistants should be able to speak; this, too, often fails to hold true in the light of accurate data – Apple’s Siri, for instance, is offered in Finnish (which has about five million native speakers) but not Swahili (which has nearly a hundred million). [45]

How can different audiences “read against” or negotiate the meaning of a work with representation issues?

Some audiences, especially those from groups that have traditionally been marginalized in media industries, may engage in “resistant reading,” interpreting works in ways that are directly contrary to the generally received meaning. Nevertheless, it is true that, as bell hooks put it, “While audiences are clearly not passive and are able to pick and choose, it is simultaneously true that there are certain ‘received’ messages that are rarely mediated by the will of the audience.” [46]

In other words, while we don’t automatically accept the surface meaning of media works, most of us will take away a meaning that is fairly close to it. Only a small number of people, mostly those whose identity or experience lead them to a resistant reading, will have a significantly different interpretation. Until members of these groups have more meaningful participation in the media industries, however, neither the portrayals nor the mainstream audience’s interpretation of them are likely to change.

Resistant reading is also easier in some media than others: in most video games, for instance, ‘resistant play’ – choosing actions other than the ones the designers assume you will take – will prevent you from progressing very far in the game. [47]

How may the codes and conventions of the medium and genre perpetuate stereotyping and representation issues?

Both different media (such as TV, film or video games) and different genres (science fiction, advertising, animation, et cetera) have their own codes and conventions that may lead media makers to fall into stereotyping or under-representation, often unconsciously. For example, both advertising and news (especially headlines) have to grab the audience’s attention right away and communicate information in a small amount of time. As a result they often use stereotypes as a kind of “shorthand” that allows the audience to fill in what they already know (or think they know). Similarly, animation and comics – and works in other media that are based on comic or cartoon characters – often have characters whose racist origins are still apparent, or for whom traits like facial scarring, prosthetic limbs or stereotypically Jewish features serve as visual markers of villainy.

Even when media works try to confront racism, homophobia and other issues, there may be fundamental features of certain media, like the episodic nature of news and the focus in fictional media on individual characters, that lead them to portray these primarily as something perpetrated by individuals and downplay their systemic qualities. [48]

How can digital tools and platforms give voice to historically marginalized communities? How may they contribute to marginalization?

Unlike traditional media, there are no one-way connections in digital media. You can share content with other people as easily as a producer or distributor shares it with you. As a result, the barriers to participation are much lower than in traditional media and anyone can publish content and find an audience. But while power in networks is not hierarchical, neither is it evenly distributed: it rests in the nodes with the most links. This means that those who had gatekeeping power in the old media environment have had their influence reduced, but not eliminated.

For instance, while online publishing has made it possible for historically under-represented groups to “restory themselves” by making versions of popular culture works that include and even centre their own experiences, [49] online platforms also have tremendous power to either promote or suppress the same voices through the algorithms that determine what is shown or recommended to users. [50] As the historian of science Melvin Kranzberg put it, different technologies are neither inherently good nor inherently bad, but neither are they neutral: [51] like mass media, they reflect the beliefs, unconscious biases and unquestioned assumptions of their creators.

As a result, the impacts that networked technology have had on historically under-represented groups are complex. Online spaces can provide diverse communities, especially those that are geographically far-flung, with an ‘ecosystem’ that would not be possible with traditional media; [52] at the same time, content moderation systems can apply censorship that is more absolute than was ever found in film and television, limiting the ability of marginalized youth to access relevant health information, [53] to monetize content that reflects their community [54] and even to speak the name of their identity. [55]

Technical tools have an impact on how we use them not just through their affordances (what can be done with them) but also their defaults (what we are expected to do with them). For example, one study of video games found that while 23 percent had affordances that allowed players to choose their character’s race, 60 percent of those defaulted to a White character unless the player actively changed it. [56] Whether or not members of diverse communities were involved in the design of those affordances and defaults may determine whether they work successfully when used in or by those communities: a review of facial algorithms found that they were at least ten times as likely to mis-identify a Black or East Asian face as a White one, [57] for example, and many digital assistants such as Siri and Alexa routinely misunderstand Black users. [58]

Networked media can also make it possible, or easier, for marginalized groups to experience harms that were not possible or less likely with traditional media. One of these is amplification: [59] for example, the frictionless quality of networked media allows hate groups to broadcast their messages more widely and to tailor them to potential audiences at different levels of the “radicalization pyramid.” Amplification does not only apply to intentional acts, though. It can also reflect a harm that already exists and make it more widespread by embedding it in the operation of a networked tool – for example, for many years Google searches for terms such as “Asian girls” and “Black girls” returned primarily pornographic results, reflecting how they were most often used in the wider internet, while “White girls” did not. [60] Questions as simple as who appears in an image search for “doctor” or “happy family” can have a huge impact on how different groups are perceived. [61]

Google search results for "happy family", showing only white families

A Google image search for “happy family” conducted in March 2022.

As with the other search terms mentioned above, Google has taken some positive steps in this regard as a result of consumer pressure. [62] This demonstrates why a key part of media education is empowering young people to make their voices heard through making and publishing their own media, as well as to push back against stereotypes and other misrepresentations in media and to use digital tools to make a difference in their online and offline communities.

MediaSmarts lessons that teach students to make their voices heard through media making include Representing Ourselves Online , Avatars and Body Image , Bias in News Sources , First Person and Art Exchange .
MediaSmarts’ guide Talk Back! How to Take Action on Media Issues explains the rules and codes that apply to different media industries on issues such as stereotyping and representation and includes some advice on how to use social networks to speak out on a media issue.
Speak Up! Your Guide to Changing the World, Online and Off explains how to use digital tools like social networks to share your views and organize others in making change.

How can educators limit resistance and backlash when addressing diversity in media?

Two of the most common risks of addressing diversity representation in media are resistance – in which students challenge the validity of media education as practice, such as by dismissing the work under study as “just an ad” or suggesting that the teacher is reading meaning into a work that isn’t there – and backlash , in which students feel the teacher is pushing their own views or interpretations, rather than encouraging students to articulate and argue their own.

One way of minimizing these is having young people explore questions, such as the ones listed above, rather than leading them towards a pre-ordained conclusion. While it is important to make them aware of the facts of representation in media, conclusions about the implications of those facts – and appropriate responses – should emerge from critical thinking and discussion.

Another important approach is to help students understand the key concept that all media have social and political implications – and that when they appear not to, it’s because they reinforce how you already see the world. Similarly, while we may be tempted to dismiss the importance of entertainment media relative to things like news, we are actually more likely to be persuaded by works that “transport” us and bypass our critical minds. [63]

As well, highlight to students that it is possible for a media work to be problematic in some aspects of its portrayal of diversity but successful in others. The 2016 film Doctor Strange , for instance, had many problematic elements in its portrayal of cultural diversity but also a fairly nuanced representation of the main character’s disability and his efforts to accommodate it. [64]

Perhaps most importantly, it’s important to teach students from early on that critiquing a part of something doesn’t mean you don’t like it, nor does critiquing a work mean that you’re criticizing anyone who likes it. Criticizing our children’s media choices can easily make them feel we’re criticizing them. There is a difference between a media work that was motivated by racism or sexism and one where it’s the result of the media-maker not questioning their assumptions or the “conventional wisdom” of their industry. Most of the time, the messages in the things they make aren’t on purpose but because of things they assumed or questions they didn’t think to ask. (It’s important to understand that the people who make media aren’t necessarily media literate in the critical sense.)

As Turner Classic Movies host Jacqueline Stewart points out, this is a distinction that people in historically under-represented groups often learn early. Describing a childhood viewing of Gone With the Wind, Stewart notes that “Black audiences have always juggled the pleasures and problems of mainstream media. I was learning that you can enjoy a film even as you are critiquing it.” [65] Of course, we also have to make a habit of studying accurate representations as well as critiquing negative ones – and recognize that a work may be positive in some aspects but problematic in others.

There may also be backlash from students relating specifically to the topic of diversity representation. This can be a result of a belief in the value of colour-blindness; though generally well-meaning, this attitude has been shown to contribute to prejudice, rather than reducing it, because it denies the identities and experiences of historically under-represented groups and prevents us from addressing the challenges and injustices they face. [66] Instead, stereotypes need to be acknowledged and faced head-on. As Jeffrey Adam Smith, author of Are We Born Racist? , puts it, “When we encounter a ‘slant-eyed, Oriental mastermind’ (to quote one old comic of mine), I stop, close the book, and tell [my son] that image is a product of prejudice, and that I think prejudice is wrong. I try to answer any questions he has. Then I re-open the book… and keep reading.” [67]

Young people may also want to distance themselves from a sense that they are accused of being prejudiced, or that they benefit from a prejudiced system. To explore different ways of addressing this, see our article on Privilege in the Media and our guide to Complicated Conversations in the Classroom .

For more tips on how to approach digital media literacy, see our article on Digital Media Literacy Fundamentals .

CS 050: College Writing Media Theme Copyright © by Confederation College Communications Department and Paterson Library Commons is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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What is media literacy, and why is it important?

The word "literacy" usually describes the ability to read and write. Reading literacy and media literacy have a lot in common. Reading starts with recognizing letters. Pretty soon, readers can identify words -- and, most importantly, understand what those words mean. Readers then become writers. With more experience, readers and writers develop strong literacy skills. ( Learn specifically about news literacy .)

Media literacy is the ability to identify different types of media and understand the messages they're sending. Kids take in a huge amount of information from a wide array of sources, far beyond the traditional media (TV, radio, newspapers, and magazines) of most parents' youth. There are text messages, memes, viral videos, social media, video games, advertising, and more. But all media shares one thing: Someone created it. And it was created for a reason. Understanding that reason is the basis of media literacy. ( Learn how to use movies and TV to teach media literacy. )

The digital age has made it easy for anyone to create media . We don't always know who created something, why they made it, and whether it's credible. This makes media literacy tricky to learn and teach. Nonetheless, media literacy is an essential skill in the digital age.

Specifically, it helps kids:

Learn to think critically. As kids evaluate media, they decide whether the messages make sense, why certain information was included, what wasn't included, and what the key ideas are. They learn to use examples to support their opinions. Then they can make up their own minds about the information based on knowledge they already have.

Become a smart consumer of products and information. Media literacy helps kids learn how to determine whether something is credible. It also helps them determine the "persuasive intent" of advertising and resist the techniques marketers use to sell products.

Recognize point of view. Every creator has a perspective. Identifying an author's point of view helps kids appreciate different perspectives. It also helps put information in the context of what they already know -- or think they know.

Create media responsibly. Recognizing your own point of view, saying what you want to say how you want to say it, and understanding that your messages have an impact is key to effective communication.

Identify the role of media in our culture. From celebrity gossip to magazine covers to memes, media is telling us something, shaping our understanding of the world, and even compelling us to act or think in certain ways.

Understand the author's goal. What does the author want you to take away from a piece of media? Is it purely informative, is it trying to change your mind, or is it introducing you to new ideas you've never heard of? When kids understand what type of influence something has, they can make informed choices.

When teaching your kids media literacy , it's not so important for parents to tell kids whether something is "right." In fact, the process is more of an exchange of ideas. You'll probably end up learning as much from your kids as they learn from you.

Media literacy includes asking specific questions and backing up your opinions with examples. Following media-literacy steps allows you to learn for yourself what a given piece of media is, why it was made, and what you want to think about it.

Teaching kids media literacy as a sit-down lesson is not very effective; it's better incorporated into everyday activities . For example:

With little kids, you can discuss things they're familiar with but may not pay much attention to. Examples include cereal commercials, food wrappers, and toy packages.
With older kids, you can talk through media they enjoy and interact with. These include such things as YouTube videos , viral memes from the internet, and ads for video games.

Here are the key questions to ask when teaching kids media literacy :

Who created this? Was it a company? Was it an individual? (If so, who?) Was it a comedian? Was it an artist? Was it an anonymous source? Why do you think that?
Why did they make it? Was it to inform you of something that happened in the world (for example, a news story)? Was it to change your mind or behavior (an opinion essay or a how-to)? Was it to make you laugh (a funny meme)? Was it to get you to buy something (an ad)? Why do you think that?
Who is the message for? Is it for kids? Grown-ups? Girls? Boys? People who share a particular interest? Why do you think that?
What techniques are being used to make this message credible or believable? Does it have statistics from a reputable source? Does it contain quotes from a subject expert? Does it have an authoritative-sounding voice-over? Is there direct evidence of the assertions its making? Why do you think that?
What details were left out, and why? Is the information balanced with different views -- or does it present only one side? Do you need more information to fully understand the message? Why do you think that?
How did the message make you feel? Do you think others might feel the same way? Would everyone feel the same, or would certain people disagree with you? Why do you think that?
As kids become more aware of and exposed to news and current events , you can apply media-literacy steps to radio, TV, and online information.

Common Sense Media offers the largest, most trusted library of independent age-based ratings and reviews. Our timely parenting advice supports families as they navigate the challenges and possibilities of raising kids in the digital age.

RACE TO A CURE

Jun 12, 2021

The Importance of Representation in Media

The comfort of finding a character you relate to. The pride of seeing your beliefs, culture, and traditions embraced on the big screens. The joy of seeing a hero that looks just like you. How many of us have experienced this, and how many have not?

Media, especially in the form of film and television, is at the forefront of the entertainment industry. Over the past century, it has rapidly evolved into a widespread medium for storytelling, art, knowledge, and enjoyment. We engage in these forms of media because they share something special—whether opening our eyes to a life vastly different than ours, enforcing a lesson previously beyond our perception, or unearthing our roots as individuals, society, and humanity as a whole. Yet too often, the media fails to accurately represent the people they portray. Too often is inclusivity swept aside by the Hollywood norm —the exclusion of diversity rather than its opposition. Misrepresentation and a lack of diversity in media negatively impacts marginalized communities, including racial, ethnic, and religious minorities, LGBTQ+ individuals, disabled people, and women. This issue is prevalent and important, and in this article, we will take a deeper look at media representation from the thoughts, experiences, and perspectives of today’s youth.

Image is courtesy of FOX .

Definition and Importance

The BBC defines representation as how societal aspects such as race, gender, age, ethnicity, nationality, and social issues are presented. When it comes to media, especially film and television, this audience is vast. Mass media broadens our scope of perception when it comes to society, multiculturalism, and the world. It holds, for many, an educational impact as it showcases unique experiences otherwise beyond reach. This is why representation is crucial. In a multicultural, diverse, multifaceted society, it is vital to amplify the voices and share the stories of all.

The Harmful Effects of Stereotypes

While a lack of representation is harmful in itself, the misrepresentation of underserved communities is a significant issue with damaging consequences. This concept is evident through stereotyping. The Arab Film & Media Institute describes stereotyping as assumptions or generalizations made and depicted of individuals due to their racial, ethnic, gender, sexual, religious, or other identities.

Stereotypes in media are often inaccurate and portray underrepresented groups in a negative light. These flawed portrayals can be easily internalized by both the individuals of a group being stereotyped and other members of society. All in all, it influences public opinion and the societal view of underrepresented communities.

“As a child, stereotypes that were portrayed in the media went over my head. I was just there to be entertained. However, as I got older and began to truly understand what it meant to be Black in society, those stereotypes that I once looked at with a blind eye began to get a little glaring. When I was younger, I always found myself drawn to shows with a Black character, but now that I look back, those shows never had a lot of Black actors. In addition, the beauty standards of those characters were quite Eurocentric. I didn’t look like the girls in that show. This was disheartening as a little girl, to not see people like me at that level of fame. Presently, I see more representation of Black people in the media but I struggle with the narrative. When I want to watch TV, I want to laugh, get lost in a story, relax, and forget about my troubles. Not be thrust into a world of discrimination and hardship that, although quite relevant, does not represent all aspects of life.”

- Lola, grade 12

As Lauren Washington discusses in an examination of film and media representation, stereotypical depictions create unconscious bias in viewers which can directly impact an individual’s thoughts and behaviours towards others. It is especially dangerous when bias is institutionalized, perpetuating the issues of discrimination and hate crimes, police brutality, mass incarceration of disadvantaged communities, and others.

“In my experience, stereotypes are the most prevalent issue in the media. They are literally everywhere, and create a very toxic environment for young people. Even the most positive stereotypes have negative connotations that are used to divide and hurt people who do not fit the standards that society expects from us. Whether it is racial stereotypes, gender stereotypes or others, it creates a playground for prejudice to grow throughout our society and formulates the idea that people do not need to think through their behaviour or give opportunities to certain people based on what they seem to be.

In most of the TV shows and movies I watched when I was younger, the woman would always fall in love and that would make her happy, or white people would always save the day. It made me feel like I had to be saved instead of taking action on my own and for the longest time, I just accepted it. It was not until I saw characters who were like me that I started to truly grow as a person. To imagine what I might’ve been like if I had those influences when I was younger hurts me a little because I always wish I could have more goals to reach, more determination, and that is swayed the most by what I take in through the media. In our media, schools, music and experiences, we need leaders to break these stereotypes and show that people are more than they are expected to be.”

- Tia, grade 11

The Arab Film & Media Institute further defines the issues of tokenism and typecasting. Tokenism is when individuals from minority groups are included for the sole purpose of exhibiting a seemingly diverse environment. This infamous tactic does not equate to equal representation, but is rather a demeaning concept that utilizes minority characters to fulfill an agenda. Typecasting in the entertainment industry occurs when individuals are consistently assigned roles due to their ability to fit a certain stereotype. This often targets actors belonging to underrepresented groups and limits their ability to grow in the industry beyond playing stereotypical roles.

Image is courtesy of Netflix Junkie.

Children and Teens

Underrepresentation, as a result, has the potential to establish harmful views and negative perceptions. For children who are developing their thoughts and behaviours, and for teenagers who are searching for identity and their place in society, media takes the role of a significant influence.

“I have felt a tremendous lack of diversity in the media while growing up. Often when characters looked like me, they fit a certain stereotype as the ‘supporting character’ or the ‘comedic relief.’ Rarely were Black and Brown characters seen as the protagonist or desirable and intelligent individuals and honestly, that took a toll on my self-esteem. A lack of diversity is harmful not only to the people being misrepresented but also to others who watch those shows or movies who then base their perception of a group solely on the media they consume. Luckily, there has been an increase in the diversity of characters of colour! But we have a long way to go to dismantle the many stereotypes that have been engraved in the history of television and film.”

- Hanna, 2nd year undergraduate

According to an article by Forbes , general media can escalate racial tensions and affect confidence and self-esteem. The author describes how predictions in the study of prolonged television exposure involve decreased self-esteem for girls and Black boys, which correlates with racial and gender biases in popular media. With the effects of underrepresentation so prevalent and impactful to youth, diverse and inclusive media representation must be prioritized as we move forward.

“Growing up, I definitely felt like it was hard to see myself represented in the media. Especially in the case of beauty standards, I feel that it has now become such a common story for Black women to go through a stage of not liking their features, and more specifically, their hair. For me, this was straightening my hair often, for others, it might have been relaxing their hair, but for many of us the cause was what was portrayed as ‘beautiful’ in the media. However, within the last few years, I have become a lot more comfortable in my identity and in wearing my hair out, as big as it is!

As far as we’ve come already, what I’m really waiting for is a coming-of-age movie starring a young Black girl that is not solely about her identity as a Black person. There is certainly a time and place for these kinds of movies, but I am so excited for when I can see myself represented in the media without having to think about all the problems that I may face as a Black woman.”

- Leah, grade 12

Image is courtesy of Girl Museum .

The Push for Greater On-Screen Diversity

The youth of today are passionate about inclusive representation, and they are making their voices heard on what they want to see more of in modern media.

“I feel like the groups that really need to be represented in the film, television, and the entertainment industry are minorities such as Black, Asian, Brown, LGBTQ, and people with disabilities. Especially people with disabilities because I hardly ever see them represented in the industry.

- Lemuela, grade 10

Progress is underway, but for representation to be achieved in all aspects, there must be greater inclusivity of underrepresented groups both on-screen and behind the scenes as writers, directors, producers, and more. The entertainment industry, media creators, and society can benefit significantly by confronting implicit bias and stereotypes and actively commit to fostering inclusive environments. Through this, may we begin the journey towards media that includes representation for all.

Article Author: Victoria Huang

Article Contributors: Lola Oyefeso, Tia Rose Desouza, Hanna Asheber, Leah Daniel, Lemuela Ajuwon

Article Editors: Maria Giroux, Stephanie Sahaeo

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