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[ED: In the numbering scheme, a bold “ii” should be followed by a bold “a,” then followed
by an unbolded “a,” and then followed by an unbolded “i,” and only then followed by an
unbolded “1,” as per the pattern followed. All through in this file, the numbering scheme
after “i” follows a different order. Ok?]
Introduction to Media Literacy, 1st edition
W. James Potter
Chapter 7: Mass Media Content
Lecture Notes
Learning Objectives:
1. Explain the relationship between message formulas and genres.
fashion.
Outline:
I. Message formulas and genres
A. Formulas are conventions that message producers use as guidelines when creating
their messages.
B. Genres are categories in which messages that share the same formulas are
organized.
II. Most general formula: Next-step reality
A. Audience’s perspective
B. Programmers’ perspective
i. Producers anchor messages in the real world.
ii. Producers pull audiences into fantasy story lines one step at a time.
iii. Journalists select stories that deviate from the norm.
III. Narratives
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A. The narrative meta-genre is characterized by a clear separation between message
producers and audiences.
i. Three types of narratives are distinguished by intention: (1) informing, (2)
persuading, and (3) entertaining.
B. Informing audiences is the primarily intention of information narratives.
C. Persuading audiences is the primary intention of persuasive narratives.
i. Problem –solution is a common formula.
a. Advertisers use this formula to exaggerate small problems.
ii. Message is less likely to include factual information and more likely to
include puffery.
a. The puffery formula works better for producers than audiences.
D. Entertaining audiences and eliciting emotional reactions are the primary
intentions of entertainment narratives.
i. The general entertainment story formula begings with a problem or
conflict.
ii. Traditional genres include tragedy, mystery, action/horror, comedy,
romance, and reality programming.
a. Tragedy must have characters that are noble and good.
b. The mystery formula withholds information from the audience
until the end.
c. The action/horror formula is driven by good versus evil.
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iii. The newest genre is reality programming.
a. It Bbecame popular in the 2000s with shows such as Survivor,
American Idol, and Big Brother.
IV. Electronic games
B. Designing electronic games involves producers following formulas.
i. The three most important decisions are the category of play, the formality
of play, and the affective tone.
a. There are six options for category of play characterized by the
objective: (1) competition, (2) winning against the odds, (3)
mimicry, (4) vertigo, (5) exploration, and (6) social play.
b. For formality of play, designers can have a minimum number of
rules or highly structured rules.
c. For affective tone, designers must think about what they want the
players to feel.
C. Experience of playing electronic games
V. Interactive message platforms
A. It is Aa meta-genre in which individuals can construct and disseminate their own
messages.
B. Social contact can take several forms: friendship, dating, and living in a different
world.
i. Friendship is the goal of some social networking sitesSNSs such as
Facebook.
ii. Dating is the goal of sites like Tinder.
iii. Living in a different world can be simulated through Second Life.
C. Sharing is a second type of interactive message platform.
i. Opinions can be shared through blogs.
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ii. Information and educational websites that are open to public participation
are called wikis.
a. Derived from the Hawaiian word wikiwiki, which means fast and
speedy.
VI. Increasing media literacy
A. Understanding mass media message formulas will help us increase our media
literacy.
i. The most common formula is the next– step reality.
B. Your skills will help you look for patterns in messages and make inductions.
i. The more you practice your skills, the more useful they will become.
C. Stronger knowledge structures about the real world will help you spot
discrepancies in media messages.
i. Expose yourself to more news and information.
ii. Periodically examine your existing knowledge structures.